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THE   TRAGEDY  OF   OTHELLO.  /^  ' 


^ 


Preface. 

The  Early  Editions.  The  First  Edition  of  Othello 
was  a  Quarto,  published  in  1622,  with  the  following  title- 
page  :— 

"  The  I  Tragoedy  of  Othello,  |  The  Moore  of  Venice.  | 
As  it  hath  bccnc  diners  times  acted  at  the  \  Globe,  and  at 
the  Black-Friers,  by  |  his  Maiesties  Scruants.  \  Written 
by  William  Shakespeare.  |  [Vignette]  |  London,  |  Printed 
by  N.  O.  for  Thomas  Walkley,  and  are  to  be  sold  at  his  | 
shop,  at  the  Eagle  and  Child,  in  Brittans  Bursse.  |  1622."  * 

In  1623  appeared  the  First  Folio,  containing  Othello 
among  the  ''Tragedies"  (pp.  310-339)  ;  the  text,  how- 
ever, was  not  derived  from  the  same  source  as  the  First 
Quarto;  an  independent  MS.  must  have  been  obtained, 
in  addition  to  many  improved  readings,  the  play  as  printed 
in  the  Folio  contained  over  one  hundred  and  fifty  verses 
omitted  in  the  earlier  edition,  while,  on  the  other  hand, 
ten  or  fifteen  lines  in  the  Quarto  were  not  represented  in 
the  Folio  version.  Thomas  Walkley  had  not  resigned  his 
interest  in  the  play ;   it  is  clear  from  the  Stationers'  Regis- 

*  Prefixed  to  this  First  Quarto  were  the  following  lines : — 
"  The  Stationer  to  the  Reader. 

''  To  set  forth  a  booke  without  an  Epistle,  zvere  like  to  the  old 
English  protierhe,  A  blew  coat  without  a  badge,  &-  the  Author 
being  dead,  I  thought  good  to  take  that  piece  of  u'orke  upon  mee: 
To  commend  it,  I  will  not,  for  that  which  is  good  I  hope  euery 
matt  will  commend,  without  interaty:  and  I  am  the  bolder,  because 
the  author  s  name  is  sufUcient  to  vent  his  worke.  Thus  leauing 
cuery  one  to  the  liberty  of  iudgcment:  I  haue  ventTred  to  print 
this  plav,  and  Icaue  it  to  the  generall  censure.  Yours,  Thomas 
Walkley." 


Preface  TRAGEDY  OF  OTHELLO. 

tcr  that  it  remained  his  property  until  March  ist,  1627 
{i.e.  1628)  when  he  assigned  **  Orthello  the  More  of 
Venice  "  unto  Richard  Hawkins,  who  issued  the  Second 
Quarto  in  1630.  A  Third  Quarto  appeared  in  1655  ;  and 
later  Quartos  in  1681,  1687,  1695. 

The  text  of  modern  editions  of  the  play  is  based  on  that 
of  the  First  Folio,  though  it  is  not  denied  that  we  have  in 
the  First  Quarto  a  genuine  play-house  copy;  a  notable 
difference,  pointing  to  the  Quarto  text  as  the  older,  is  its 
retention  of  oaths  and  asseverations,  which  are  omitted  or 
toned  down  in  the  Folio  version. 

Date  of  Composition.  This  last  point  has  an  impor- 
tant bearing  on  the  date  of  the  play,  for  it  proves  that 
Othello  was  written  before  the  Act  of  Parliament  was 
issued  in  1606  against  the  abuse  of  the  name  of  God  in 
plays.  External  and  internal  evidence  seem  in  favour  of 
1604  as  the  birth-year  of  the  tragedy,  and  this  date  has 
been  generally  accepted  since  the  publication  of  the  Vari- 
onim  Shakespeare  of  1821,  wherein  Malone's  views  in 
favour  of  that  year  were  set  forth  (Alalone  had  died  nine 
years  before  the  work  appeared).  After  putting  forward 
various  theories,  he  added : — "  We  know  it  was  acted  in 
1604,  and  I  have  therefore  placed  it  in  that  year."  For 
twenty  years  scholars  sought  in  vain  to  discover  upon 
what  evidence  he  knezv  this  important  fact,  until  at  last, 
about  the  year  1840,  Peter  Cunningham  announced  his 
discovery  of  certain  Accounts  of  the  Revels  at  Court,  con- 
taining the  following  item  : — 

"  By  the  King's    *  Hallamas  Day,  being  the  first  of  Nov, 
Matis  Plaiers.      A  play  at  the  bankettinge  House  att 
Whitehall,  called  the  Moor  of  Venis 

[1604].'"* 

We  now  know  that  this  manuscript  was  a  forgery,  but 
strange  to  say,  there  is  every  reason  to  believe  that  though 
'  the  book '  itself  is  spurious,  the  information  which   it 

*v.  Shakespeare  Society  Puhlications,  1842. 


THE  MOOR  OF  VENICE  Preface 

yields  is  genuine,  and  that  Malone  had  some  such  entry 
in  his  possession  when  he  wrote  his  emphatic  statement 
(z'ide  Grant  White's  account  of  the  whole  story,  quoted 
in  Furness'  Varionun  edition  ;   cp.  pp.  351-357). 

The  older  school  of  critics,  and  Malone  himself  at  first, 
assigned  the  play  to  circa  161 1  on  the  strength  of  the  lines, 
III.  iv.  46,  47  : — 

'  The  hearts  of  old  gave  hands; 

But  our  new  heraldry  is  hands  not  hearts,' 

which  seemed  to  be  a  reference  to  the  arms  of  the  order 
of  Baronets,  instituted  by  King  James  in  161 1  ;  Malone, 
however,  in  his  later  edition  of  the  play  aptly  quoted  a 
passage  from  the  Essays  of  Sir  William  Comwallis,  the 
younger,  published  in  1601,  which  may  have  suggested 
the  thought  to  Shakespeare: — ''They  (our  forefathers) 
had  zi'ont  to  give  their  hands  and  their  hearts  together, 
hut  zee  think  it  a  finer  grace  to  look  asquint,  our  hand' 
looking  one  zvay,  and  our  heart  another." 

The  Original  Othello.  From  the  elegy  on  the  death 
of  Richard  Burbage  in  the  year  1618,  it  appears  that  the 
leading  character  of  the  play  was  assigned  to  this  most 
famous  actor : — 

"But  let  me  not  forget  one  chief  est  pan 
Wherein,  beyond  the  rest,  he  mov'd  the  heart, 
The  grieved  Moor,  made  jealous  by  a  slave, 
Who  sent  his  wife  to  till  a  timeless  grave. 
Then  slew  himself  upon  the  bloody  bed. 
All  these  and  many  more  zvith  him  are  dead."  * 

The  Source  of  the  Plot.  The  story  of  '  //  Moro  di 
Venezia  '  was  taken  from  the  Heccatommithi  of  the  Italian 
novelist  Giraldi  Cinthio ;  it  is  the  seventh  tale  of  the  third 
deca,de,  which  deals  with  "  The  unfaithfulness  of  Hus- 
bands and  Wives."     No  English  translation  of  the  novel 

*  Z'.  Ingleby's  Centurie  of  Prayse  (New  Shak.  Soe.),  2nd  edi- 
tion, p.  131,  where  the  elegy  is  discussed,  and  a  truer  version 
printed. 


Preface  TRAGEDY  OF  OTHELLO. 

existed  in  Shakespeare's  time  (at  least  we  know  of  none), 
but  a  French  translation  appeared  in  the  year  1584,  and 
through  this  medium  the  work  may  have  come  to  Eng- 
land. Cinthio's  novel  may  have  been  of  Oriental  origin, 
and  in  its  general  character  it  somewhat  resembles  the  tale 
of  The  Three  Apples  in  The  Thousand  and  One  Nights; 
on  the  other  hand  it  has  been  ingeniously  maintained  that 
"  a  certain  Christophal  Moro,  a  Luogotenente  di  Cipro, 
who  returned  from  Cyprus  in  1508,  after  having  lost  his 
wife,  was  the  original  of  the  Moor  of  Venice  of  Giraldi 
Cinthio."  "  Fronting  the  summit  of  the  Giants'  Stair/' 
writes  Mr.  Rawdon  Brown,  the  author  of  this  theory, 
*'  where  the  Doges  of  Venice  were  crowned,  there  are 
still  visible  four  shields  spotted  with  mulberries  (strazu- 
berries  in  the  description  of  Desdemona's  handkerchief), 
indicating  that  that  part  of  the  palace  portal  on  which  they 
are  carved  was  terminated  in  the  reign  of  Christopher 
Moro,  whose  insignia  are  three  mulberries  sable  and  three 
bends  azure  on  a  field  argent ;  the  word  Moro  signifying 
in  Italian  either  mulberry-tree  or  blackamoor."  Perhaps 
Shakespeare  learnt  the  true  story  of  his  Othello  from 
some  of  the  distinguished  Venetians  in  England ;  ''  Cin- 
thio's novel  would  never  have  sufficed  him  for  his 
Othello  "*  (z'ide  Fumess,  pp.  372-389.  Knowing,  how- 
ever, Shakespeare's  transforming  power,  w^e  may  well 
maintain  that,  without  actual  knowledge  of  Christopher 
]\Ioro's  history,  he  was  capable  of  creating  Othello  from 
Cinthio's  savage  Moor,  lago  from  the  cunning  cowardly 
ensign  of  the  original,  the  gentle  lady  Desdemona  from 
"  the  virtuous  lady  of  marvellous  beauty,  named  Disde- 

*  The  title  of  the  novel  summarises  its  contents  as  follows : — 
"  A  Moorish  Captain  takes  to  a  wife  a  Venetian  Dame,  and  his 
Ancient  accuses  her  of  adultery  to  her  husband :  it  is  planned 
that  the  Ancient  is  to  kill  him  whom  he  believes  to  be  the  adul- 
terer :  the  Captain  kills  the  woman,  is  accused  by  the  Ancient,  the 
Moor  does  not  confess,  but  after  the  infliction  of  extreme  torture, 
is  banished;  and  the  wicked  Ancient,  thinking  to  injure  others, 
provided  for  himself  a  miserable  death." 


THE  MOOR  OF  VENICE  Preface 

mona  (i.e.  'the  hapless  one'),"*  who  is  beaten  to  death 
"  with  a  stocking  filled  with  sand,"  Cassio  and  Emilia 
from  the  vaguest  possible  outlines.  The  .tale  should  be 
read  side  by  side  with  the  play  by  such  as  desire  to  study 
the  process  whereby  a  not  altogether  artless  tale  of  hor- 
rorf  has  become  the  subtlest  of  tragedies — "  perhaps  the 
greatest  work  in  the  world. "J;  "  The  most  pathetic  of 
human  compositions. "§ 

"  Dreams,  Books,  are  each  a  world :  and  books,  we  know, 
Are  a  substantial  world,  both  pure  and  good ; 
Round  them  with  tendrils  strong  as  flesh  and  blood, 
Our  pastime  and  our  happiness  will  grow. 
There  find  I  personal  theme,  a  plenteous  store, 
Matter  wherein  right  voluble  I  am, 
To  which  I  listen  with  a  ready  ear; 
Two  shall  be  named  pre-eminently  dear, — 
The  gentle  Lady  married  to  the  Moor; 
And  heavenly  Una,  with  her  milk-white  Lamb." 

*  This  is  the  only  name  given  by  Cinthio.  Steevens  first  pointed 
out  that  "  Othello  "  is  found  in  Reynold's  God's  Revenge  against 
Adultery,  standing  in  one  of  his  arguments  as  follows: — "She 
marries  Othello,  an  old  Gefman  soldier."  The  name  "  lago  "  also 
occurs  in  the  book.  It  is  also  found  in  "  The  first  and  second 
part  of  the  History  of  the  famous  Euordanus,  Prince  of  Den- 
mark. With  the  strange  adventures  of  lago,  Prince  of  Saxonie: 
and  of  both  their  several  fortunes  in  Love.    At  London,  1605." 

t  Mrs.  Jameson  rightly  calls  attention  to  a  striking  incident  of 
the  origmal  story : — Desdemona  does  not  accidentally  drop  the 
handkerchief:  it  is  stolen  from  her  by  lago's  little  child,  an  irifant 
of  three  years  old,  whom  he  trains  and  bribes  to  the  theft.  The 
love  of  Desdemona  for  this  child,  her  little  playfellow — the  pretty 
description  of  her  taking  it  in  her  arms  and  caressing  it,  while 
it  profits  by  its  situation  to  steal  the  handkerchief  from  her  bosom, 
are  well  imagined  and  beautifully  told,  etc. 

X  Macaulay. 

§  Wordsworth — "The  tragedy  of  Othello,  Plato's  records  of  the 
last  scenes  in  the  career  of  Socrates,  and  Izaak  Walton's  Life  of 
George  Herbert  are  the  most  pathetic  of  human  compositions." 
(A  valuable  summary  of  criticisms,  English  and  foreign,  will  be 
found  in  Furness's  Othello,  pp.  407-453.) 


Preface  TRAGEDY  OF  OTHELLO, 

Duration  of  Action.  The  action  seems  to  cover  three 
days : — Act  L,  one  day.  Interval  for  voyage.  Act  II., 
one  day.  Acts  III.,  IV.,  V.,  one  day.  In  order  to  get 
over  the  difficulty  of  this  time-division  various  theories 
have  been  advanced,  notably  that  of  Double  Time,  pro- 
pounded by  Halpin  and  Wilson ;  according  to  the  latter, 
"  Shakespeare  counts  off  days  and  hours,  as  it  were,  by 
two  clocks,  on  one  of  which  the  true  Historic  Time  is 
recorded,  and  on  the  other  the  Dramatic  Time,  or  a  false 
show  of  time,  whereby  days,  weeks,  and  months  may  be 
to  the  utmost  contracted  "  (Furness,  pp.  358-372). 

According  to  Mr.  Fleay,  the  scheme  of  time  for  the 
play  is  as  follows  : — 

Act  I.,  one  day.  Interval  for  voyage.  Act  II.,  one 
day.  Act  III.,  one  day  (Sunday).  Interval  of  a  week,  at 
least.  Act  IV.  Sc.  i.,  ii.,  iii. ;  Act  V.  Sc.  i.,  ii.,  iii.,  one 
day :  where  Act  IV.  begins  with  what  is  now  Act  III. 
Sc.  iv.,  and  Act  V.  with  the  present  Act  IV.  Sc.  iii. 


THE  MOOR  OF  VENICE 


Critical  Comments. 
I. 

Argument. 

I,  Desdemoiia,  a  beautiful  and  high-born  Venetian 
maiden,  is  wooed  and  won  by  Othello,  a  Moorish  gen- 
eral, whose  dusky  skin  cannot  conceal  a  chivalrous  and 
adventurous  spirit  such  as  women  love.  Desdemona's 
father,  Brabantio,  learning  of  their  secret  marriage,  is 
much  incensed  and  goes  before  the  Duke  of  Venice  and 
complains  that  his  daughter  has  been  stolen  from  him. 
But  it  so  happens  that  Othello's  warlike  qualities  are  in 
demand  upon  the  very  night  in  which  these  affairs  cul- 
minate. He  has  been  in  the  service  of  the  Venetian 
government,  and  the  state  now  requires  his  presence  in 
Cypress  to  oppose  a  Turkish  fleet.  He  is  therefore  suf- 
fered to  depart  in  peace  with  his  wife  Desdemona,  espe- 
cially since  she,  in  the  council  chamber,  declares  her  love 
and  confidence  in  him. 

II.  lago,  Othello's  ancient  or  ensign,  has  sworn  se- 
cret enmity  against  his  master  because  the  Moor  raised 
Cassio  instead  of  himself  to  the  chief  Heutenancy.  The 
enmity  has  taken  the  form  of  carefully  laid  plots,  which 
began  with  the  very  nuptial  night  of  Othello.  In 
Cyprus,  whither  Othello  and  his  train  repair,  the  plots 
have  abundant  time  for  ripening.  A  storm  has  wrecked 
the  Turkish  fleet,  and  Othello  remains  in  command  on 
land  amid  a  general  revelry,  authorized  by  him,  to  cele- 
brate the  dispersion  of  the  enemy  and  in  honor  of  his 
own  nuptials.  During  the  feasting  lago  makes  Cassio 
drunk  and  involves  him  in  a  street  brawl.  Othello  ar- 
rives on  the  scene  and  deprives  the  officer  of  his  lieuten- 
ancy. 

7 


Comments  TRAGEDY  OF  OTHELLO, 

IIL  lago  advises  Cassio  to  sue  for  favor  and  restora- 
tion of  rank  through  Desdemona,  since  Othello  will  deny 
her  nothing.  Cassio,  unsuspicious  of  treachery,  obtains 
an  interview  with  her,  and  lago  lures  Othello  to  the 
scene — innocent  enough,  but  greeted  by  lago  with  an 
ominous  shake  of  the  head.  Othello,  seeing  the  ges- 
ture, questions  his  ensign,  whereupon  the  latter  instils 
the  poison  of  jealousy  into  his  master's  ears,  making 
him  to  doubt  Desdemona's  relations  with  Cassio.  The 
doubt  is  intensified  when  that  lady,  in  the  kindness  of  her 
heart,  intercedes  for  Cassio.  Henceforward  lago  loses 
no  opportunity  to  add  to  his  master's  jealousy.  He 
procures  by  stealth  a  handkerchief  given  by  Othello  to 
Desdemona,  and  causes  it  to  be  found  in  Cassio's  pos- 
session. 

IV.  Othello  becomes  convinced  that  his  wife  has 
been  untrue  to  him.  He  determines  upon  her  death, 
and  charges  his  supposed  friend  lago  with  the  task  of 
despatching  Cassio.  Nothing  loth,  lago  embroils  Cas- 
sio in  a  night  combat  with  Roderigo,  a  former  suitor 
of  Desdemona's,  entangled  in  the  meshes  of  lago. 

V.  Cassio  wounds  Roderigo.  lago  desires  the  death 
of  both,  and  so,  unseen,  stabs  Cassio.  ^Meanwhile 
Othello  goes  to  Desdemona's  bedchamber  and  smothers 
her  to  death.  Emilia,  the  wife  of  lago  and  devoted 
servant  of  Desdemona,  proves  to  Othello  that  the  wife 
he  has  just  murdered  is  innocent.  lago  kills  Emilia. 
Othello  wounds  lago,  then  kills  himself.  Cassio,  who 
still  lives,  is  advanced  to  the  government  of  Cyprus, 
lago  is  reserved  for  lingering  torture. 

IL 

lago  and  Roderigo. 

Admirable  is  the  preparation,  so  truly  and  peculiarly 
Shakespearian,  in  the  introduction  of  Roderigo,  as  the 
dupe  on  whom  lago  shall  first  exercise  his  art,  and  in 

8 


THE  MOOR  OF  VENICE  Comments 

so  doing  display  his  own  character.  Roderigo,  without 
any  fixed  principle,  but  not  without  the  moral  notions 
and  sympathies  with  honour,  which  his  rank  and  con- 
nections had  hung  upon  him,  is  already  well  fitted  and 
predisposed  for  the  purpose;  for  very  want  of  character 
and  strength  of  passion,  like  wnnd  loudest  in  an  empty 
house,  constitute  his  character.  The  first  three  lines 
happily  state  the  nature  and  foundation  of  the  friendship 
between  him  and  lago — the  purse — as  also  the  con- 
trast of  Roderigo's  intemperance  of  mind  with  lago's 
coolness — the  coolness  of  a  preconceiving  experimenter. 
The  mere  language  of  protestation — 

If  ever  I  did  dream  of  such  a  matter,  abhor  me — 

wdiich  falling  in  with  the  associative  link,  determines 
Roderigo's  continuation  of  complaint — 

Thou  told'st  me,  thou  didst  hold  him  in  thy  hate — 

elicits  at  length  a  true  feeling  of  lago's  mind,  the  dread 
of  contempt  habitual  to  those,  who  encourage  in  them- 
selves, and  have  their  keenest  pleasure  in,  the  expression 
of  contempt  for  others.  Observe  lago's  high  self- 
opinion,  and  the  moral,  that  a  wicked  man  will  employ 
real  feelings,  as  well  as  assume  those  most  alien  from  his 
own,  as  instruments  of  his  purposes : — 

And.  by  the  faith  of  man, 
I  know  my  place,  I  am  worth  no  worse  a  place. 

I  think  Tyrwhitt's  reading  of  "  life  "  for  "  wife  " — 

A  fellow  almost  damn'd  in  a  fair  zvifc — 

the  true  one,  as  fitting  to  lago's  contempt  for  whatever 
did  not  display  power,  and  that  intellectual  power.  In 
what  follows,  let  the  reader  feel  how  by  and  through 
the  glass  of  two  passions,  disappointed  vanity  and  envy, 
the  very  vices  of  which  he  is  complaining,  are  made  to 
act  upon  him  as  if  they  were  so  many  excellences,  and 
the  more  appropriately,  because  cunning  is  always  ad- 
mired and   wished   for  bv   minds   conscious   of   inward 


V 


Comments  TRAGEDY  OF  OTHELLO. 

weakness; — but  they  act  only  by  half,  like  music  on  an 
inattentive  auditor,  swelling  the  thoughts  which  pre- 
vent him  from  listening  to  it. 

Coleridge:  Notes  and  Lectures  upon  Shakespeare. 


Roderigo  thinks  he  is  buying  up  lago's  talents  and 
efiforts.  This  is  just  what  lago  means  to  have  him 
think;  and  it  is  something  doubtful  which  glories  most, 
the  one  in  having  money  to  bribe  talents,  or  the  other 
in  having  wit  to  catch  money.  Still  it  is  plain  enough 
that  lago,  with  a  pride  of  intellectual  mastery  far 
stronger  than  his  love  of  lucre,  cares  less  for  the  money 
than  for  the  fun  of  wheedling  and  swindling  others 
out  of  it.     .     .     . 

Still,  to  make  his  scheme  work,  he  must  allege  some 
reasons  for  his  purpose  touching  the  Moor:  for  Rod- 
erigo, gull  though  he  be,  is  not  so  gullible  as  to  entrust 
his  cause  to  a  groundless  treachery;  he  must  know 
something  of  the  strong  provocations  w^hich  have  led 
lago  to  cherish  such  designs.  lago  understands  this 
perfectly:  he  therefore  pretends  a  secret  grudge  against 
Othello,  which  he  is  but  holding  in  till  he  can  find  or 
make  a  fit  occasion;  and  therewithal  assigns  such 
grounds  and  motives  as  he  knows  will  secure  faith  in 
his  pretence;  whereupon  the  other  gets  too  warm  with 
the  anticipated  fruits  of  his  treachery  to  suspect  any 
similar  designs  on  himself.  Wonderful  indeed  are  the 
arts  whereby  the  rogue  wins  and  keeps  his  ascendancy 
over  the  gull!  During  their  conversation,  \\q  can  almost 
see  the  former  worming  himself  into  the  latter,  hke  a 
corkscrew  into  a  cork. 

Hudson  :  The  Works  of  Shakespeare. 


lago  has  no  other  aim  than  his  own  advantage.  It 
is  the  circumstance  that  not  he,  but  Cassio,  has  been 
appointed  second  in  command  to  Othello,  which  first 
sets   his    craft   to   work   on    subtle   combinations.     He 


10 


THE  MOOR  OF  VENICE  Comments 

coveted  this  post,  and  he  will  stick  at  nothing  in  order 
to  win  it.  In  the  meantime,  he  takes  advantage  of 
every  opportunity  of  profit  that  ofifers  itself;  he  does 
not  hesitate  to  fool  Roderigo  out  of  his  money  and  his 
jewels.  He  is  always  masked  in  falsehood  and  hypoc- 
risy; and  the  mask  he  has  chosen  is  the  most  impene- 
trable one,  that  of  rough  outspokenness,  the  straight- 
forward, honest  bluntness  of  the  soldier  who  does  not 
care  what  others  think  or  say  of  him.  He  never  flatters 
Othello  or  Desdemona,  or  even  Roderigo.  He  is  the 
free-spoken,  honest  friend. 

He  does  not  seek  his  own  advantage  without  side- 
glances  at  others.  He  is  mischievousness  personified. 
He  does  evil  for  the  pleasure  of  hurting,  and  takes 
active  delight  in  the  adversity  and  anguish  of  others. 
He  is  that  eternal  envy  which  merit  or  success  in  others 
never  fails  to  irritate — not  the  petty  envy  which  is  con- 
tent with  coveting  anotfief's  honours  or  possessions,  or 
with  holding  itself  more  deserving  of  another's  good 
fortune.  No;  he  is  an  ideal  personification.  He  is 
blear-eyed  rancour  itself,  figuring  as  a  great  power — 
nay,  as  fJic  motive  force — in  human  life.  He  embodies 
the  detestation  for  others'  excellences  which  shows  itself 
in  obstinate  disbelief,  suspicion,  or  contempt;  the  in- 
stinct of  hatred  for  all  that  is  open,  beautiful,  bright, 
good,  and  great. 

Shakespeare  not  only  knew  that  such  wickedness 
exists;  he  seized  it  and  set  his  stamo  on  it,  to  his  eternal 
honour  as  a  psychologist. 

Every  one  has  heard  it  said  that  this  tragedy  is  mag- 
nificent in  so  far  as  the  true  and  beautiful  characters  of 
Othello  and  Desdemona  are  concerned;  but  lago — who 
knows  him? — what  motive  underlies  his  conduct? — what 
can  explain  such  wickedness?  If  only  he  had  even  been 
frankly  in  love  with  Desdemona,  and  therefore  hated 
Othello,  or  had  had  some  other  incentive  of  a  like 
nature ! 

II 


Comments  TRAGEDY  OF  OTHELLO. 

Yes,  if  he  had  been  the  ordinary  amorous  villain  and 
slanderer,  everything  would  undoubtedly  have  been 
much  simpler;  but,  at  the  same  time,  everything  would 
have  sunk  into  banality,  and  Shakespeare  would  here 
have  been  imequal  to  himself. 

No,  no!  precisely  in  this  lack  of  apparent  motive  lies 
the  profundity  and  greatness  of  the  thing.  Shakespeare 
understood  this.  lago  in  his  monologues  is  incessantly 
giving  himself  reasons  for  his  hatred.  Elsewhere,  in 
reading  Shakespeare's  monologues,  we  learn  what  the 
person  really  is;  he  reveals  himself  directly  to  us;  even 
a  villain  like  Richard  III.  is  quite  honest  in  his  mono- 
logues. Not  so  lago.  This  demi-devil  is  always  try- 
ing to  give  himself  reason  for  his  malignity,  is  always 
half  fooling  himself  by  dwelling*  on  half  motives,  in 
which  he  partly  believes,  but  disbelieves  in  the  main. 
Coleridge  has  aptly  designated  this  action  of  his  mind: 
"  The  motive-hunting  of  a  motiveless  malignity."  Again 
and  again  he  expounds  to  himself  that  he  believes  Othello 
has  been  too  familiar  with  his  wife,  and  that  he  will 
avenge  the  dishonour.  He  now  and  then  adds,  to  ac- 
count for  his  hatred  of  Cassio,  that  he  suspects  him  too 
of  tampering  with  Emilia.  He  even  thinks  it  worth 
while  to  allege,  as  a  secondary  motive,  that  he  himself 
is  enamoured  of  Desdemona. 

Brandes:   JVilliitiii  Shakespeare. 

in. 

Othello. 

Othello  must  not  be  considered  as  a  negro,  but  a  high 
and  chivalrous  Moorish  chief.  Shakespeare  learned  the 
spirit  of  the  character  from  the  Spanish  poetry,  which 
was  prevalent  in  England  in  his  time.  Jealousy  does 
not  strike  me  as  the  point  in  his  passion;  I  take  it  to 
be  rather  an  agony  that  the  creature,  whom  he  had 
believed  angelic,  with  whom   he  had   garnered   up  his 

12 


THE  MOOR  OF  VENICE  Comments 

heart,  and  whom  he  could  not  help  still  loving,  should 
be  proved  impure  and  worthless.  It  was  the  struggle 
not  to  love  her.  It  was  a  moral  indignation  and  regret 
that  virtue  should  so  fall: — "  But' yet  the  pity  of  it,  lago! 
— O  lago!  the  pity  of  it,  lago!"  In  addition  to  this, 
his  honour  was  concerned:  lago  would  not  have  suc- 
ceeded but  by  hinting  that  his  honour  was  compro- 
mised. There  is  no  ferocity  in  Othello;  his  mind  is 
majestic  and  composed.  He  deliberately  determines  to 
die;  and  speaks  his  last  speech  with  a  view  of  showing 
his  attachment  to  the  Venetian  State,  though  it  had 
superseded  him. 

Schiller  has  the  material  Sublime;  to  produce  an 
effect,  he  sets  you  a  whole  town  on  fire,  and  throws 
infants  with  their  mothers  into  the  flames,  or  locks  up 
a  father  in  an  old  tower.  But  Shakespeare  drops  a 
handkerchief,  and  the  same  or  greater  effects  follow. 

Lear  is  the  most  tremendous  effort  of  Shakespeare 
as  a  poet;  Hamlet  as  a  philosopher  or  meditator;  and 
Othello  is  the  union  of  the  two.  There  is  something 
gigantic  and  unformed  in  the  former  two;  but  in  the 
latter,  everything  assumes  its  due  place  and  proportion, 
and  the  whole  mature  powers  of  his  mind  are  displayed 
in  admirable  equilibrium 

Coleridge  :  Tabic  Talk. 


Now  what  is  Othello?  He  is  night.  An  immense 
fatal  figure.  Night  is  amorous  of  day.  Darkness  loves 
the  dawn.  The  African  adores  the  white  woman.  Des- 
demona  is  Othello's  brightness  and  frenzy!  And  then 
how  easy  to  him  is  jealousy!  He  is  great,  he  is  digni- 
fied, he  is  majestic,  he  soars  above  all  heads,  he  has  as 
an  escort  bravery,  battle,  the  braying  of  trumpets,  the 
banner  of  war,  renown,  glory;  he  is  radiant  with  twenty 
victories,  he  is  studded  with  stars,  this  Othello:  but 
he  is  black.  And  thus  how  soon,  when  jealous,  the  hero 
becomes  monster,  the  black  becomes  the  negro!     How 

13 


Comments  TRAGEDY  OF  OTHELLO. 

speedily  has  night  beckoned  to  death!  By  the  side  of 
Othello,  who  is  night,  there  is  lago,  who  is  evil.  Evil, 
the  other  form  of  darkness.  Night  is  but  the  night  of 
the  world;  evil  is  the  night  of  the  soul.  How  deeply 
black  are  perfidy  and  falsehood!  To  have  ink  or  treason 
in  the  veins  is  the  same  thing.  Whoever  has  jostled 
against  imposture  and  perjury  knows  it.  One  must 
blindly  grope  one's  way  with  roguery.  Pour  hypocrisy 
upon  the  break  of  day,  and  you  put  out  the  sun,  and 
this,  thanks  to  false  religions,  happens  to  God.  lago 
near  Othello  is  the  precipice  near  the  landslip.  ''  This 
way!  "  he  says  in  a  low  voice.  The  snare  advises 
blindness.  The  being  of  darkness  guides  the  black. 
Deceit  takes  upon  itself  to  give  what  light  may  be  re- 
quired by  night.  Jealousy  uses  falsehood  as  the  blind 
man  his  dog.  lago  the  traitor,  opposed  to  whiteness 
and  candour,  Othello  the  negro,  what  can  be  more  ter- 
rible! These  ferocities  of  the  darkness  act  in  unison. 
These  two  incarnations  of  the  eclipse  comprise  together, 
the  one  roaring,  the  other  sneering,  the  tragic  suffocation 
of  light. 

Hugo:   Jl'illiani  Shakespeare. 


The  Moor  has  for  the  most  part  been  regarded  as 
specially  illustrating  the  workings  of  jealousy.  Whether 
there  be  anything,  and,  if  so,  how  much,  of  this  passion 
in  him,  may  indeed  be  questions  having  two  sides ;  but 
we  may  confidently  affirm  that  he  has  no  special  pre- 
disposition to  jealousy;  and  that  whatsoever  of  it  there 
may  be  in  him  does  not  grow  in  such  a  way,  nor  from 
such  causes,  that  it  can  justly  be  held  as  the  leading 
feature  of  his  character,  much  less  as  his  character  itself; 
though  such  has  been  the  view  more  commonly  taken 
of  him.  On  this  point,  there  has  been  a  strange  ignoring 
of  the  inscrutable  practices  in  which  his  passion  orig- 
inates. Instead  of  going  behind  the  scene,  and  taking 
its  grounds  of  judgement  directly  from,  the  subject  hini- 

14 


THE  MOOR  OF  VENICE  Comments 

self,  criticism  has  trusted  overmuch  in  what  is  said  of 
him  by  other  persons  in  the  drama,  to  whom  he  must 
perforce  seem  jealous,  because  they  know  and  can 
know  nothing  of  the  devilish  cunning  that  has  been  at 
work  with  him.  And  the  common  opinion  has  no  doubt 
been  much  furthered  by  the  stage;  lago's  villainy  being 
represented  as  so  open  and  barefaced,  that  the  Moor 
must  have  been  grossly  stupid  or  grossly  jealous  not 
to  see  through  him;  whereas,  in  fact,  so  subtle  is  the 
villain's  craft,  so  close  and  involved  are  his  designs,  that 
Othello  deserves  but  the  more  respect  and  honour  for 
being  taken  in  by  him. 

It  seems  clear  enough  that  a  passion  thus  self-gener- 
ated and  self-sustained  ought  not  to  be  confounded  with 
a  state  of  mind  superinduced,  like  Othello's,  by  forgery 
or  external  proofs, — a  forgery  wherein  himself  has  no 
share  but  as  the  victim.  And  we  may  safely  affirm  that 
he  has  no  aptitude  for  such  a  passion;  it  is  against  the 
whole  grain  of  his  mind  and  character.  lago  evidently 
knows  this;  knows  the  Moor  to  be  incapable  of  spon- 
taneous distrust ;  that  he  must  see,  before  he  '11  doubt : 
that  when  he  doubts,  he  '11  prove ;  and  that  when  he  has 
proved,  he  will  retain  his  honour  at  all  events,  and  retain 
his  love,  if  it  be  compatible  with  honour.  Accordingly, 
lest  the  Moor  should  suspect  himself  of  jealousy,  lago 
pointedly  warns  him  to  beware  of  it;  puts  him  on  his 
guard  against  such  self-delusion,  that  so  his  mind  may 
be  more  open  to  the  force  of  evidence,  and  lest  from 
fear  of  being  jealous  he  should  entrench  himself  in  the 
opposite  extreme,  and  so  be  proof  against  conviction. 

The  struggle,  then,  in  Othello  is  not  between  love 
and  jealousy,  but  between  love  and  honour;  and  lago's 
machinations  are  exactly  adapted  to  bring  these  two 
latter  passions  into  collision.  Indeed  it  is  the  Moor's 
very  freedom  from  a  jealous  temper,  that  enables  the 
villain  to  get  the  mastery  of  him.  Such  a  character 
as  his,  so  open,  so  generous,  so  confiding,  is  just  the 


Comments  TRAGEDY  OF  OTHELLO, 

one  to  be  taken  in  the  strong  toils  of  lago's  cunning; 
to  have  escaped  them,  would  have  argued  him  a  par- 
taker of  the  strategy  under  which  he  falls. 

Hudson  :  The  Works  of  Shakespeare. 

IV. 

Desdemona. 

At  the  period  of  the  story  a  spirit  of  wild  adventure 
had  seized  all  Europe.  The  discovery  of  both  Indies 
was  yet  recent;  over  the  shores  of  the  western  hem- 
isphere still  fable  and  mystery  hung,  with  all  their  dim 
enchantments,  visionary  terrors,  and  golden  promises! 
perilous  expeditions  and  distant  voyages  were  every  day 
undertaken  from  hope  of  plunder,  or  mere  love  of  en- 
terprise; and  from  these  the  adventurers  returnd  with 
tales  of  "  antres  vast  and  desarts  wild — of  cannibals  that 
did  each  other  eat — of  Anthropophagi,  and  men  whose 
heads  did  grow  beneath  their  shoulders."  With  just 
such  stories  did  Raleigh  and  Clifford,  and  their  follow- 
ers, return  from  the  New  World:  and  thus  by  their 
splendid  or  fearful  exaggerations,  which  the  imperfect 
knowledge  of  those  times  could  not  refute,  was  the 
passion  for  the  romantic  and  marvellous  nourished  at 
home,  particularly  among  the  women.  A  cavalier  of 
those  days  had  no  nearer,  no  surer  way  to  his  mistress's 
heart  than  by  entertaining  her  with  these  wondrous  nar- 
ratives. What  was  a  general  feature  of  his  time,  Shak- 
speare  seized  and  adapted  to  his  purpose  with  the  most 
exquisite  felicity  of  effect.  Desdemona,  leaving  her 
household  cares  in  haste,  to  hang  breathless  on  Othello's 
tales,  was  doubtless  a  picture  from  the  life;  and  her 
inexperience  and  her  quick  imagination  lend  it  an  added 
propriety:  then  her  compassionate  disposition  is  inter- 
ested by  all  the  disastrous  chances,  hair-breadth  'scapes, 
and  moving  accidents  by  flood  and  field,  of  which  he  has 
to  tell ;    and  her  exceeding  gentleness  and  timidity,  and 

i6 


THE  MOOR  OF  VENICE  Comments 

iicr  domestic  turn  of  mind,  render  her  more  easily  cap- 
tivated by  the  mihtary  renown,  the  valour,  and  lofty 
bearing  of  the  noble  Moor. 

When  Othello  first  outrages  her  in  a  manner  which 
appears  inexplicable,  she  seeks  and  finds  excuses  for 
him.  She  is  so  innocent  that  not  only  she  cannot  be- 
lieve herself  suspected,  but  she  cannot  conceive  the  ex- 
istence of  guilt  in  others. 

Something,  sure,  of  state. 
Either  from  Venice,  or  some  nnhatch'd  practice 
Made  demonstrable  here  in  Cyprus  to  him, 
Hath  puddled  his  clear  spirit. 

'T  is  even  so — 
Nay,  we  must  think,  men  are  not  gods, 
Nor  of  them  look  for  such  observances 
As  fit  the  bridal. 

And  when  the  direct  accusation  of  crime  is  flung  on  her 
in  the  vilest  terms,  it  does  not  anger  but  stun  her,  as 
if  it  transfixed  her  whole  being;  she  attempts  no  reply, 
no  defence;  and  reproach  or  resistance  never  enters 
her  thought. 

And  there  is  one  stroke  of  consummate  delicacy,  sur- 
prising, when  we  remember  the  latitude  of  expression 
prevailing  in  Shakspeare's  time,  and  which  he  allowed 
to  his  other  women  generally;  she  says,  on  recovering 
from  her  stupefaction — 

Desd.  Am  I  that  name,  lago? 
I  ago.  What  name,  sweet  lady? 
Desd.  That  which  she  says  my  lord  did  say  I  was. 

So  completely  did  Shakspeare  enter  into  the  angelic 
refinement  of  the  character. 

Endued  with  that  temper  which  is  the  origin  of  super- 
stition in  love  as  in  religion — which,  in  fact,  makes  love 
itself  a  religion — she  not  only  does  not  utter  an  up- 
braiding, Init  nothing  that  Othello  does  or  says,  no  out- 
rage, no  injustice,  can  tear  away  the  charm  with  which 
her  imagination  had  invested  him,  or  impair  her  faith 

17 


Comments  TRAGEDY  OF  OTHELLO. 

in  his  honour.     "  Would  you  had  never  seen  him!  "  ex- 
claims Emilia. 

Desd.  So  would  not  I  ! — my  love  doth  so  appro\e  hhn. 
That  even  his  stubbornness,  his  checks  and  frowns 
Have  grace  and  favour  in  them. 

There  is  another  peculiarity,  which,  in  reading  the 
play  of  Othello,  we  rather  feel  than  perceive:  through  the 
Vv^hole  of  the  dialogue  appropriated  to  Desdemona  there 
is  not  one  general  observation.  Words  are  with  her 
the  vehicle  of  sentiment,  and  never  of  reflection;  so  that 
I  cannot  find  throughout  a  sentence  of  general  applica- 
tion. 

Mrs.  Jameson  :  Characteristics  of  Women. 


Emilia,  Instrument  of  Nemesis. 

It  is  lago's  own  wife  Emilia  whose  quick  woman's 
wit  is  the  first  to  pierce  the  web  of  intrigue,  and  stim- 
ulated by  sight  of  her  murdered  mistress  she  gives  her 
suspicions  vent,  though  at  the  point  of  her  husband's 
sword.  The  principle  underlying  this  nemesis  is  one 
of  the  profoundest  of  Shakespeare's  moral  ideas — that 
evil  not  only  corrupts  the  heart,  but  equally  undermines 
the  judgement.  To  lago  is  applicable  the  biting  sen- 
tence of  Junius'.  "Virtue  and  simplicity  have  so  long 
been  synonymous  that  the  reverse  of  the  proposition 
has  grown  into  credit,  and  every  villain  fancies  himself 
a  man  of  ability."  It  is  because  he  knows  himself  un- 
fettered by  scruples  that  lago  feels  himself  infallible,  and 
considers  honest  men  fools;  he  never  sees  how  his  foul 
thoughts  have  bhnded  his  perceptive  powers,  and  made 
him  blunder  where  simple  men  would  have  gone  straight. 
True,  he  brings  infinite  acuteness  to  bear  upon  the  details 
of  his  intrigues;  but  he  never  perceives,  what  the  reader 
sees  at  a  glance,  that  the  whole  ground  of  his  action 

i8 


THE  MOOR  OF  VENICE  Comments 

in  these  intrigues — his  suspicions  that  Emilia  has  been 
tampered  with  by  Cassio  and  Othello — is  a  stupid  mis- 
take, which  no  one  with  any  wholesome  knowledge  of 
human  nature  would  make.  And  the  same  want  of  in- 
sight into  honest  human  nature,  which  made  him  set 
up  his  atrocious  schemes,  is  the  cause  now  of  their  fail- 
ure. He  thought  he  had  foreseen  everything:  it  never 
occurred  to  him  that  his  wife  might  betray  him  ivith 
nothing  to  gain  by  such  betrayal,  simply  from  affection 
and  horror. 

I  care  not  for  thy  sword ;   I  "11  make  thee  known, 
Though  I  lost  twenty  lives. — Help  !    help,  ho  !    help ! 
The  Moor  hath  kill'd  my  mistress  ! 

In  vain  lago  seeks  to  stop  her  mouth;  a  few  words  put 
all  the  suspicious  circumstances  together,  until  in  rage 
and  spite  lago  stabs  Emilia,  though  the  blow  seals  his 
own  ruin.  This  detail  is  a  fresh  touch  in  the  perfection 
of  the  nemesis  upon  lago:  in  a  sense  different  from  what 
he  intended  he  is  now  "  evened  "  with  Othello,  "  wife 
for  wife."  The  nemesis  draws  items  of  equal  retribu- 
tion from  all  the  intrigues  of  lago.  It  was  on  account 
of  Emilia  that  he  played  the  villain,  and  it  is  Emilia  who 
betrays  him.  He  had  made  a  tool  of  Roderigo,  and 
the  contents  of  the  dead  Roderigo's  pockets  furnish  the 
final  links  of  evidence  against  him.  His  main  purpose 
was  to  oust  Cassio  both  from  office  and  life:  Cassio 
lives  to  succeed  Othello  as  Governor,  and  make  his  first 
official  act  the  superintendence  of  lago's  torturing. 

MouLTON :  Shakespeare  as  a  Dramatic  Artist. 

VI. 

Other  Characters, 

The  subordinate  figures  are  worked  out  with  hardly 
less  skill  than  the  principal  characters  of  the  tragedy. 
Emilia  especially   is   inimitable — good-hearted,    honest, 

19 


Comments  TRAGEDY  OF  OTHELLO, 

and  not  exactly  light,  but  still  sufficiently  the  daughter  of 
Eve  to  be  unable  to  understand  Desdemona's  naive  and 
innocent  chastity. 

At  the  end  of  Act  IV.  (in  the  bedroom  scene)  Desde- 
mona  asks  Emilia  if  she  believes  that  there  really  are 
women  who  do  what  Othello  accuses  her  of.  Emilia 
answers  in  the  affirmative.  Then  her  mistress  asks 
again:  "  Would'st  thou  do  such  a  deed  for  all  the 
world?  "  and  receives  the  jesting  answer,  ''  The  world  's 
a  huge  thing;  it  is  a  great  price  for  a  small  vice: — 

"  Marry,  I  would  not  do  such  a  thing  for  a  joint- ring,  nor  for 
measures  of  lawn,  nor  for  gowns,  petticoats,  nor  caps,  nor  any 
petty  exhibition ;  but,  for  the  whole  world !  .  .  .  Why,  the 
wrong  is  but  a  wrong  i'  the  world ;  and  having  the  world  for  your 
labour,  'tis  a  wrong  in  your  own  world,  and  3'OU  might  quickly 
make  it  right." 

In  passages  like  this  a  mildly  playful  note  is  struck  in 
the  very  midst  of  the  horror.  And  according  to  his 
habit  and  the  custom  of  the  times,  Shakespeare  also  in- 
troduces, by  means  of  the  Clown,  one  or  two  deliber- 
ately comic  passages ;  but  the  Clown's  merriment  is 
subdued,  as  Shakespeare's  merriment  at  this  period 
always  is. 

Brandes  :   IVilliain  Shakespeare. 


Cassio  is  an  enthusiastic  admirer,  almost  a  worshipper, 
of  Desdemona.  O,  that  detestable  code  that  excellence 
cannot  be  loved  in  any  form  that  is  female,  but  it  must 
needs  be  selfish!  Observe  Othello's  "honest,"  and 
Cassio's  "  bold  "  lago,  and  Cassio's  full  guilelcssdiearted 
wishes  for  the  safety  and  love-raptures  of  Othello  and 
"  the  divine  Desdemona."  And  also  note  the  exquisite 
circumstance  of  Cassio's  kissing  lago's  wife,  as  if  it 
ought  to  be  impossible  that  the  dullest  auditor  should 
not  feel  Cassio's  religious  love  of  Desdemona's  purity, 
lago's  answers  are  the  sneers  which  a  proud  bad  intel- 
lect  feels    towards    women,    and    expresses    to   a    wife. 

20 


THE  MOOR  OF  VENICE  Comments 

Surely  it  ought  to  be  considered  a  very  exalted  compli- 
ment to  women,  that  all  the  sarcasms  on  them  in  Shake- 
speare are  put  in  the  mouths  of  villains. 

Coleridge:  Notes  and  Lectures  upon  Shakespeare. 

VII. 

Spiritual  Import  of  the  Play. 

Were  Othello  but  the  spirited  portrait  of  a  half-tamed 
barbarian,  we  should  view  him  as  a  bold  and  happy 
poetical  conception,  and,  as  such,  the  Poet's  work  might 
satisfy  our  critical  judgement;  but  it  is  because  it  depicts 
a  noble  mind,  wrought  by  deep  passion  and  dark  devices 
to  agonies  such  as  every  one  might  feel,  that  it  awakens 
our  strongest  sympathies.  We  see  in  this  drama  a  grand 
and  true  moral  picture;  we  read  in  it  a  profound  ethical 
lesson;  for  (to  borrow  the  just  image  of  the  classical 
Lowth)  while  the  matchless  work  is  built  up  to  the 
noblest  height  of  poetry,  it  rests  upon  the  deepest  foun- 
dations of  true  philosophy. 

Verplanck  :  The  Illustrated  Shakespeare. 


The  central  point  of  its  spiritual  import  lies  in  the 
contrast  between  lago  and  his  victim.  lago,  with  keen 
intellectual  faculties  and  manifold  culture  in  Italian  vice, 
lives  and  thrives  after  his  fashion  in  a  world  from  which 
all  virtue  and  all  beauty  are  absent.  Othello,  with  his  bar- 
baric innocence  and  regal  magnificence  of  soul,  must 
cease  to  live  the  moment  he  ceases  to  retain  faith  in 
the  purity  and  goodness  which  were  to  him  the  highest 
and  most  real  things  upon  earth.  Or  if  he  live,  life  must 
become  to  him  a  cruel  agony.  Shakspere  compels  us 
to  acknowledge  that  self-slaughter  is  a  rapturous  en- 
ergy— that  such  prolonged  agony  is  joy  in  comparison 
with  the  earthy  Hfe-in-death  of  such  a  soul  as  that  of 
lago.     The  noble  nature  is  taken  in  the  toils  because  it 

21 


Comments 

is  noble.  lago  suspects  his  wife  of  every  baseness,  but 
the  suspicion  has  no  other  effect  than  to  intensify  his 
malignity.  lago  could  not  be  captured  and  constrained 
to  heroic  suffering  and  rage.  The  shame  of  every  be- 
ing who  bears  the  name  of  woman  is  credible  to  lago, 
and  yet  he  can  grate  from  his  throat  the  jarring  music: — 

"  And  let  me  the  canakin  clink,  clink ! 
And  let  me  the  canakin  clink !  " 

There  is,  therefore,  Shakspere  would  have  us  under- 
stand, something  more  inimical  to  humanity  than  suf- 
fering— namely,  an  incapacity  for  noble  pain.  To  die 
as  Othello  dies  is  indeed  grievous.  But  to  live  as  lago 
lives,  devouring  the  dust  and  stinging — this  is  more  ap- 
palling. 

Such  is  the  spiritual  motive  that  controls  the  tragedy. 
And  the  validity  of  this  truth  is  demonstrable  to  every 
sound  conscience.  No  supernatural  authority  needs  to 
be  summoned  to  bear  witness  to  this  reality  of  human 
life.  No  pallid  flame  of  hell,  no  splendour  of  dawning 
heaven,  needs  show  itself  beyond  the  verge  of  earth  to 
illumine  this  truth.  It  is  a  portion  of  the  ascertained 
fact  of  human  nature,  and  of  this  our  moral  existence. 

DowDEN :  Shakspere, 


22 


The  Tragedy  of 
Othello,  The  Moor  of  Venice. 


DRAMATIS   PERSONAE. 

Duke  of  Venice. 

Brabantio^  a  senator. 

Other  Senators. 

Gratiano,  brother  to  Brabantio. 

LoDOVico,  kinsman  to  Brabantio. 

Othello,  a  noble  Moor  in  the  service  of  the  Venetian  state. 

Cassio,  his  lieutenant. 

Iago^  his  ancient. 

RoDERiGO,  a  J-^enetia}!  gentleman. 

Montano,  Othello's  predecessor  in  the  government  of  Cyprus. 

Clown,  servant  to  Othello. 

Desdemona,  daughter  to  Brabantio  and  zvife  to  Othello. 
Emilia,,  wife  to  lago. 
Bianca^  mistress  to  Cassio. 

Sailor,   Messenger,   Herald,   Officers,   Gentlemen,    Musicians,   and 
Attendants. 

Scene:   Venice:   a  seaport  in  Cyprus. 


24 


o 


The  Tragedy  of 
Othello,  The  Moor  of  Venice. 

ACT  FIRST. 

Scene  I. 

Venice.     A  street. 
Enter  Roderigo  and  lago. 

Rod.  Tush,  never  tell  me;   I  take  it  much  unkindly 
That  thou,  lago,  who  hast  had  my  purse 
As  if  the  strings  were  thine,  shouldst  know  of  this. 

lago.  'Sblood,  but  you  will  not  hear  me: 
If  ever  I  did  dream  of  such  a  matter, 
Abhor  me. 

Rod.  Thou  told'st  me  thou  didst  hold  him  in  thy  hate. 

lago.  Despise  me,  if  I  do  not.    Three  great  ones  of  the  city. 
In  personal  suit  to  make  me  his  lieutenant, 
Of¥-capp'd  to  him:   and,  by  the  faith  of  man,  lo 

I  know  my  price,  I  am  worth  no  worse  a  place : 
But  he,  as  loving  his  own  pride  and  purposes, 
Evades  them,  with  a  bombast  circumstance 
Horribly  stuff 'd  with  epithets  of  war; 
And,  in  conclusion, 

Nonsuits  my  mediators;  for,  '  Certes,'  says  he, 
*  I  have  already  chose  my  officer/ 
And  what  was  he? 
Forsooth,  a  great  arithmetician. 
One  Michael  Cassio,  a  Florentine,  20 

A  fellow  almost  damn'd  in  a  fair  wife;    li.6* 

25 


Act  I.  Sc.  i.  TRAGEDY  OF  OTHELLO, 

That  never  set  a  squadron  in  the  field, 
Nor  the  division  of  a  battle  knows 
More  than  a  spinster;   unless  the  bookish  theoric, 
Wherein  the  toged  consuls  can  propose 
As  masterly  as  he:   mere  prattle  without  practice 
Is  all  his  soldiership.     But  he,  sir,  had  the  election: 
And  I,  of  whom  his  eyes  had  seen  the  proof 
At  Rhodes,  at  Cyprus,  and  on  other  grounds 
Christian  and  heathen,  must  be  be-lee'd  and  calm'd 
By  debitor  and  creditor:  this  counter-caster,  31 

He,  in  good  time,  must  his  lieutenant  be. 
And  I — God  bless  the  mark  ! — his  Moorship's  ancient. 
Rod.  By  heaven,  I  rather  would  have  been  his  hangman. 
lago.  Why,  there  's  no  remedy ;   'tis  the  curse  of  service, 
Preferment  goes  by  letter  and  affection. 
And  not  by  old  gradation,  where  each  second 
Stood  heir  to  the  first.     Now,  sir,  be  judge  yourself 
Whether  I  in  any  just  term  am  affined 
To  love  the  Moor. 
Rod.  I  would  not  follow  him  then.     40 

lago.  O,  sir,  content  you; 

follow  him  to  serve  my  turrr  upon  him: 
We  cannot  all  be  masters,  nor  all  masters 
I    Cannot  be  truly  follow'd.    You  shall  mark 
J /Many  a  duteous  and  knee-crooking  knave, 
^  V  V  That  doting  on  his  own  obsequious  bondage 

'     3^^^     Wears  out  his  time,  much  like  his  master's  ass, 
^^     0  For  nought  but  provender,    and    when    he 's    old, 

^^    P  cashier'd: 

^^       ^Vhip  me  such  honest  knaves.     Others  there  are 
Mr  ^       *  AVho,  trimm'd  in  forms  and  visages  of  duty,  50 

^        (/  Keep  yet  their  hearts  attending  on  themselves, 
9^     ^f         And  throwing  but  shows  of  service  on  their  lords 


/ 


26 


THE  MOOR  OF  VENICE  Act  I.  Sc.  i. 

Do  well  thrive  by  them,  and  when  they  have  lined 

their  coats 
Do  themselves  homage  :  these  fellows  have  some  soul, 
And  such  a  one  do  I  profess  myself. 
For,  sir, 

It  is  as  sure  as  you  are  Roderigo, 
Were  I  the  Moor,  I  would  not  be  lago: 
In  following  him,  I  follow  but  myself; 
Heaven  is  my  judge,  not  I  f on  love  and  duty, 
But  seeming  so,  for  my  p^qpnar  end:  60 

For  when  my  outward  action  doth  demonstrate 
The  native  act  and  figure  of  my  heart 
In  compliment  extern,  'tis  not  long  after 
But  I  will  wear  my  heart  upon  my  sleeve 
For  daws  to  peck  at :   I  am  not  what  I  am. 

Rod.  What  a  full  fortune  does  the  thick-lips  owe, 
If  he  can  carry  't  thus! 

lago.  Call  up  her  father, 

Rouse  him:   make  after  him,  poison  his  delight, 
Proclaim  him  in  the  streets;    incense  her  kinsmen. 
And,  though  he  in  a  fertile  climate  dwell,  70 

Plague  him  with  flies:   though  that  his  joy  be  joy, 
Yet  throw  such  changes  of  vexation  on  't 
As  it  may  lose  some  colour. 

Rod.  Here  is  her  father's  house;   I. '11  call  aloud. 

Jag^o.  Do;   with  like  timorous  accent  and  dire  yell 
As  when,  by  night  and  negligence,  the  fire 
Is  spied  in  populous  cities. 

Rod.  What,  ho,  Brabantio!     Signior  Brabantio,  ho!       ^* 

lago.  Awake!    what,   ho,    Brabantio!    thieves!    thieves  I 
thieves ! 
Look  to  your  house,  your  daughter  and  your  bags! 
Thieves!    thieves!  81 

27 


Act  I.  Sc.  i.  TRAGEDY  OF  OTHELLO. 

Brabantio  appears  above,  at  a  windozu. 

Bra.  What  is  the  reason  of  this  terrible  summons? 
What  is  the  matter  there? 

Rod.  Signior,  is  all  your  family  within? 

I  ago.  Are  your  doors  lock'd? 

Bra.  Why,  wherefore  ask  you  this? 

I  ago.  'Zounds,  sir,  you're  robb'd;    for  shame,  put  on 
your  gown; 
Your  heart  is  burst,  you  have  lost  half  your  soul; 
Even  now,  now,  very  now,  an  old  black  ram 
Is  tupping  your  white  ewe.     Arise,  arise; 
Awake  the  snorting  citizens  with  the  bell,  90 

Or  else  the  devil  will  make  a  grandsire  of  you: 
Arise,  I  say. 

Bra.  What,  have  you  lost  your  wits? 

Rod.  Most  reverend  signior,  do  you  know  my  voice? 

Bra.  Not  I :   w^iat  are  you  ? 

Rod.  My  name  is  Roderigo. 

Bra.  The  worser  welcome: 

I  have  charged  thee  not  to  haunt  about  my  doors: 
In  honest  plainness  thou  hast  heard  me  say 
My  daughter  is  not  for  thee;   and  now,  in  madness, 
Being  full  of  supper  and  distempering  draughts, 
Upon  malicious  bravery,  dost  thou  come  100 

To  start  my  quiet. 

Rod.  Sir,  sir,  sir, — 

Bra.  But  thou  must  needs  be  sure 

My  spirit  and  my  place  have  in  them  power 
To  make  this  bitter  to  thee. 

Rod.  Patience,  good  sir. 

Bra.  What  tell'st  thou  me  of  robbing?   this  is  Venice; 

28 


THE  MOOR  OF  VENICE  Act  I.  Sc.  i. 

My  house  is  not  a  grange. 

Rod.  Most  grave  Brabantio, 

In  simple  and  pure  soul  I  come  to  you. 

lago.  'Zounds,  sir,  you  are  one  of  those  that  will  not 
serve  God,  if  the  devil  bid  you.  Because  we 
come  to  do  you  service  and  you  think  we  are  no 
ruffians,  you  '11  have  your  daughter  covered  with 
a  Barbary  horse;  you'll  have  your  nephews 
neigh  to  you;  you  '11  have  coursers  for  cousins, 
and  gennets  for  germans. 

Bra.   What  profane  wretch  art  thou? 

lago.  I  am  one,  sir,  that  comes  to  tell  you  youf 
daughter  and  the  Moor  are  now  making  the 
beast  with  two  backs. 

Bar.  Thou  art  a  villain. 

lago.  You  are — a  senator.  119 

Bra.  This  thou  slialt  answer;   I  know  thee,  Roderigo. 

Rod.   Sir,  I  will  answer  any  thing.    But,  I  beseech  you, 
If  't  be  your  pleasure  and  most  wise  consent, 
As  partly  I  find  it  is,  that  your  fair  daughter, 
At  this  odd-even  and  dull  watch  o'  the  night, 
Transported  with  no  worse  nor  better  guard 
But  with  a  knave  of  common  hire,  a  gondolier, 
To  the  gross  clasps  of  a  lascivious  Moor, — 
If  this  be  known  to  you,  and  your  allowance, 
We  then  have  done  you  bold  and  saucy  wrongs ; 
But  if  you  know  not  this,  my  manners  tell  me       130 
We  have  your  wrong  rebuke.     Do  not  believe 
That,  from  the  sense  of  all  civility, 
I  thus  Vv'ould  play  and  trifle  with  your  reverence: 
Your  daughter,  if  you  have  not  given  her  leave, 
I  say  again,  hath  made  a  gross  revolt, 

29 


Act  I.  Sc.  i,  TRAGEDY  OF  OTHELLO, 

Tying  her  duty,  beauty,  wit  and  fortunes, 

In  an  extravagant  and  wheeling  stranger 

Of  here  and  every  where.     Straight  satisfy  yourself : 

If  she  be  in  her  chamber  or  your  house, 

Let  loose  on  me  the  justice  of  the  state  140 

For  thus  deluding  you. 

Bra.  Strike  on  the  tinder,  ho! 

Give  me  a  taper!   call  up  all  my  people! 
This  accident  is  not  unlike  my  dream: 
Belief  of  it  oppresses  me  already. 
Light,  I  sav!   IMit!  [Exit  above. 

I  ago.  Farewell;   for  I  must  leave  you: 

It  seems  not  meet,  nor  wholesome  to  my  place, 
To  be  produced — as,  if  I  stay,  I  shall — 
Against  the  Moor :   for  I  do  know,  the  state, 
However  this  may  gall  him  with  some  check. 
Cannot  with  safety  cast  him;   for  he  's  embark'd 
With  such  loud  reason  to  the  Cyprus  wars,  151 

Which  even  now  stand  in  act,  that,  for  their  souls, 
Another  of  his  fathom  they  have  none 
To  lead  their  business:    in  which  regard. 
Though  I  do  hate  him  as  I  do  hell  pains, 
Yet  for  necessity  of  present  life, 
I  must  show  out  a  flag  and  sign  of  love. 
Which  is  indeed  but  sign.     That  you  shall  surely 

find  him, 
Lead  to  the  Sagittary  the  raised  search; 
And  there  will  I  be  with  him.     So  farewell.       [Exit. 

Enter  hcloii',  Brahantio,  in  Jiis  night-gozvn,  and 
Servants  zi'ith  torches. 

Bra.  It  is  too  true  an  evil:   gone  she  is;  161 

30 


THE  MOOR  OF  VENICE  Act  I.  Sc.  ii. 

And  what's  to  come  of  my  despised  time 
Is  nought  but  bitterness.     Now,  Roderigo, 
Where  didst  thou  see  her?    O  unhappy  girl! 
With  the  Moor,  say'st  thou  ?  Who  would  be  a  father  ! 
How  didst  thou  know  'twas  she  ?  O,  she  deceives  me 
Past  thought !  What  said  she  to  you  ?  Get  more  tapers. 
Raise  all  my  kindred.    Are  they  married,  think  you? 

Rod.  Truly,  I  think  they  are. 

Bra.  O  heaven!     How  got  she  out?     O  treason  of  the 
blood!  •  170 

Fathers,  from  hence  trust  not  your  daughters'  minds 
By  what  you  see  them  ai:t.     Is  there  not  charms 
By  which  the  property  of  youth  and  maidhood 
May  be  abused?    Have  yoi\  not  read,  Roderigo, 
Of  some  such  thing? 

Rod.  Yes,  sir,  X  have  indeed. 

Bra.  Call  up  my  brother.    O,  would  you  had  had  her! 
Some  one  way,  some  another.     Do  you  know 
Where  we  may  apprehend  her  and  the  Moor? 

Rod.  I  think  I  can  discover  him,  if  you  please 

To  get  good  guard  and  go  along  with  me.  180 

Bra.  Pray  you,  lead  on.    At  every  house  I  '11  call ; 
I  may  command  at  most.    Get  weapons,  ho! 
And  raise  some  special  officers  of  night. 
On,  good  Roderigo;    I  '11  deserve  your  pains. 

{Exeunt. 

Scene  II. 

Another  street. 

Enter  Othello,  lago,  and  Attendants  icith  torches. 

lago.  Though  in  the  trade  of  war  I  have  slain  men, 
Yet  do  I  hold  it  very  stuff  o'  the  conscience 

31 


Act  I.  Sc.  ii.  TRAGEDY  OF  OTHELLO, 

To  do  no  contrived  murder:   I  lack  iniquity 
Sometimes  to  do  me  service :  nine  or  ten  times 
I  had  thought  to  have  yerk'd  him  here  under  the 
ribs. 

0th.  'Tis  better  as  it  is. 

lagv.  Nay,  but  he  prated 

And  spoke  such  scurvy  and  provoking  terms 

Against  your  honour, 

That,  with  the  httle  godHness  I  have, 

I  did  full  hard  forbear  him.     But  I  pray  you,  sir, 

Are  you  fast  married?    Be  assured  of  this,  ii 

That  the  magnifico  is  much  beloved, 

And  hath  in  his  effect  a  voice  potential 

As  double  as  the  duke's:   he  will  divorce  you, 

Or  put  upon  you  what  restraint  and  grievance 

The  law,  with  all  his  might  to  enforce  it  on, 

Will  give  him  cable. 

0th.  Let  him  do  his  spite: 

My  services,  which  I  have  done  the  signlory, 
Shall  out-tongue  his  complaints.    'Tis  yet  to  know — 
Which,  when  I  know  that  boasting  is  an  honour,  20 
I  shall  promulgate — I  fetch  my  life  and  being 
From  men  of  royal  siege,  and  my  demerits 
May  speak  unbonneted  to  as  proud  a  fortune 
As  this  that  I  have  reach'd:   for  know,  lago. 
But  that  I  love  the  gentle  Desdemona, 
I  would  not  my  unhoused  free  condition 
Put  into  a  circumscription  and  confine 
For  the  sea's  worth.     But,  look!   what  lights  come 
yond? 

lago.  Those  are  the  raised  father  and  his  friends: 
You  were  best  go  in. 

32 


THE  MOOR  OF  VENICE  Act  I.  5c.  ii. 

Oth.  Not  I;    I  must  be  found:         30 

My  parts,  my  title  and  my  perfect  soul, 
Shall  manifest  me  rightly.     Is  it  they? 

lago.   By  Janus,  I  thinkjip. 

Enter  Cassio,  aiid  certain  Officers  zvith  torches. 

Oth.  The  servants  of  the  duke,  and  my  Heutenant. 
The  goodness  of  the  night  upon  you,  friends! 
What  is  the  news? 

Cas.  The  duke  does  greet  you,  general, 

And  he  requires  your  haste-post-haste  appearance, 
Even  on  the  instant. 

Oth.  What  is  the  matter,  think  you? 

Cas.  Something  from  Cyprus,  as  I  may  divine: 

It  is  a  business  of  some  heat:   the  galleys  40 

Have  sent  a  dozen  sequent  messengers 

This  very  night  at  one  another's  heels; 

And  many  of  the  consuls,  raised  and  met, 

Are  at  the  duke's  already:  you  have  been  hotly  call'd 

for; 
When,  being  not  at  your  lodging  to  be  found, 
The  senate  hath  sent  about  three  several  quests 
To  search  you  out. 

Oth.  'Tis  well  I  am  found  by  you. 

I  will  but  spend  a  word  here  in  the  house. 
And  go  with  you.  [Exit 

Cas.  Ancient,  what  makes  he  here? 

lago.  Faith,  he  to-night  hath  boarded  a  land  carack:    50 
If  it  prove  lawful  prize,  he  's  made  for  ever. 

Cas.  I  do  not  understand.  V      <i 

lago.  He's  married.  \       ^  y 

Cas.  To  who?    A      -^*^ 

33 


Act  I.  Sc.  ii.  TRAGEDY  OF  OTHELLO. 

Re-enter  Othello. 

I  ago.  Marry,  to — Come,  captain,  will  you  go? 
0th.  Have  with  you. 

Cas.  Here  comes  another  troop  to  seek  for  you. 
I  ago.  It  is  Brabantio:    general,  be  advised; 
He  comes  to  bad  intent. 

Enter  Brabantio,  Roderigo,  and  0-fficers  zvith  torches 
and  weapons. 

0th.  Hallo!    stand  there! 

Rod.  Signior,  it  is  the  Moor. 

Bra.  Down  with  him,  thief! 

[They  draw  on  both  sides, 
I  ago.  You,  Roderigo!   come,  sir,  I  am  for  you. 
0//i.  ,Keep  up  your  bright  swords,  for  the  dew  will  rust 
them, 
rood  signior,  you  shall  more  command  with  years 
'han  with  your  weapons.  61 

Bra.  O  thou  foul    thief,    where    hast    thou    stow'd    my 
daughter? 
Damn'd  as  thou  art,  thou  hast  enchanted  her; 
For  I  '11  refer  me  to  all  things  of  sense, 
If  she  in  chains  of  magic  were  not  bound, 
Whether  a  maid  so  tender,  fair  and  happy, 
So  opposite  to  marriage  that  she  shunn'd 
The  wealthy  curled  darlings  of  our  nation, 
Would  ever  have,  to  incur  a  general  mock. 
Run  from  her  guardage  to  the  sooty  bosom  70 

Of  such  a  thing  as  thou,  to  fear,  not  to  delight. 
Judge  me  the  world,  if  'tis  not  gross  in  sense 
That  thou  hast  practised  on  her  with  foul  charms, 
Abused  her  delicate  youth  with  drugs  or  minerals 

34 


THE  MOOR  OF  VENICE  Act  I.  Sc.  ii. 

That  weaken  motion  :   I  '11  have  't  disputed  on ; 

'Tis  probable,  and  palpable  to  thinking. 

I  therefore  apprehend  and  do  attach  thee 

For  an  abuser  of  the  world,  a  practiser 

Of  arts  inhibited  and  out  of  warrant. 

Lay  hold  upon  him:   if  he  do  resist,  80 

Subdue  him  at  his  peril. 
0th.  Hold  your  hands, 

Both  you  of  my  inclining  and  the  rest: 

Were  it  my  cue  to  fight,  I  should  have  known  it 

Without  a  prompter.    Where  will  you  that  I  go 

To  answer  this  your  charge? 
Bra.  To  prison,  till  fit  time 

Of  law  and  course  of  direct  session 

Call  thee  to  answer. 


Oik.  What  if  I  do  obey?       )  |^ 

How  may  the  duke  be  therewith  satisfied, (^ 

Whose  messengers  are  here  about  my  side,) 


Upon  some  present  business  of  the  state  ^'-.     qo  r-^,^^jt 
To  bring  me  to  him?  £jb>«- 

First  Off.  Tis  true,  most  worthy  signior;      — 

The  duke  's  in  council,  and  your  noble  self,  -€c»-Ce<^ 

I  am  sure,  is  sent  for.  -^JUujtJix^ 

Bra.  How!  the  duke  in  council!    .Ju;x<>L>t^ 

In  this  time  of  the  night!     Bring  him  away:    Qot^c^tL^\Sl/vaJ 
Mine  's  not  an  idle  cause :   the  duke  himself,  JL     iR      g. 
Or  any  of  my  brothers  of  the  state,  J^HJ^JiikS^iu^ 

Cannot  but  feel  this  w^rong  as  'twxre  their  own;  ^^~*~-^ 

For  if  such  actions  may  have  passage  free. 
Bond-slaves  and  pagans  shall  our  statesmen  be. 

[Exeunt. 


35 


Act  L  Sc.  iii.  TRAGEDY  OF  OTHELLO. 

Scene  IIL 

A  council-chamber. 

The  Duke  and  Senators  sitting  at  a  table;    Officers 
attending. 

Duke.  There  is  no  composition  in  these  news 
That  gives  them  credit. 

First  Sen.  Indeed  they  are  disproportion'd; 

My  letters  say  a  hundred  and  seven  galleys. 

Duke.  And  mine,  a  hundred  and  forty. 

Sec.  Sen.  And  mine,  two  hundred: 

But  though  they  jump  not  on  a  just  account, — 
As  in  these  cases,  where  the  aim  reports, 
'Tis  oft  with  difference, — yet  do  they  all  confirm 
A  Turkish  fleet,  and  bearing  up  to  Cyprus. 

Duke.  Nay,  it  is  possible  enough  to  judgement: 

I  do  not  so  secure  me  in  the  error,  lo 

But  the  main  article  I  do  approve 
In  fearful  sense. 

Sailor.         [PVithin]   What,  ho!   what,  ho!   what,  ho! 

First  Off.  A  messenger  from  the  galleys. 

Filter  Sailor. 

Duke.  Now,  what  's  the  business? 

Sail.  The  Turkish  preparation  makes  for  Rhodes  ; 
So  was  I  bid  report  here  to  the  state 
By  Signior  Angelo. 

Duke.  How  say  you  by  this  change? 

First  Sen.  This  cannot  be, 

By  no  assay  of  reason:    'tis  a  pageant 
To  keep  us  in  false  gaze.    When  we  consider 
The  importancy  of  Cyprus  to  the  Turk,  20 

36 


THE  MOOR  OF  VENICE  Act  I.  Sc.  iii. 

And  let  ourselves  again  but  understand 

That  as  it  more  concerns  the  Turk  than  Rhodes, 

So  may  he  with  more  facile  question  bear  it, 

For  that  it  stands'  not  in  such  warlike  brace, 

But  altogether  lacks  the  abilities 

That  Rhodes  is  dress 'd  in  :  if  we  make  thought  of  this. 

We  must  not  think  the  Turk  is  so  unskilful 

To  leave  that  latest  which  concerns  him  first. 

Neglecting  an  attempt  of  ease  and  gain, 

To  wake  and  wage  a  danger  profitless.  30 

D^ikc.  Nay,  in  all  confidence,  he  's  not  for  Rhodes. 

First  Off.   Here  is  more  news. 

Enter  a  Messcui^cr. 

Mess.  The  Ottomites,  reverend  and  gracious. 

Steering  with  due  course  toward  the  isle  of  Rhodes, 
Have  there  injointed  them  with  an  after  fleet. 

First  Sen.  Ay,  so  I  thought.     How  many,  as  you  guess? 

Mess.  Of  thirty  sail :   and  now  they  do  re-stem 

Their  backward  course,  bearing  with  frank  appearance 
Their  purposes  toward  Cyprus.    Signior  Montano 
Your  trusty  and  most  valiant  servitor,  40 

With  his  free  duty  recommends  you  thus, 
And  prays  you  to  believe  him. 

Ditke.  'Tis  certain  then  for  Cyprus. 

Marcus  Luccicos,  is  not  he  in  town? 

First  Sen.    He  's  now  in  Florence. 

Duke,  Write  from  us  to  him  ;  post-post-haste  dispatch. 

First  Sen.  Here  comes  Brabantio  and  the  valiant  Moor. 

Enter  Brabantio,  Othello,  Iai!;o,  Roderigo,  and  Officers. 

Dnke.  Valiant  Othello,  we  must  straight  employ  you 
Against  the  general  enemy  Ottoman. 

37 


Act  I.  Sc.  iii.  TRAGEDY  OF  OTHELLO, 

[To  Brabantio]    I  did  not  see  you;    welcome,  gentle 
signior ;  50 

We  lack'd  your  counsel  and  your  help  to-night. 

Bra.  So  did  I  yours.    Good  your  grace,  pardon  me; 
Neither  my  place  nor  aught  I  heard  of  business 
Hath  raised  me  from  my  bed,  nor  doth  the  general  care 
Take  hold  on  me;  for  my  particular  grief 
Is  of  so  flood-gate  and  o'erbearing  nature 
That  it  engluts  and  swallows  other  sorrows, 
And  it  is  still  itself. 

Duke.  Why,  what 's  the  matter? 

Bra.  My  daughter!    O,  my  daughter! 

All.  Dead? 

Bra.  Ay,  to  me; 

She  is  abused,  stol'n  from  me  and  corrupted        60 
By  spells  and  medicines  bought  of  mountebanks; 
For  nature  so  preposterously  to  err, 
Being  not  deficient,  blind,  or  lame  of  sense, 
Sans  witchcraft  could  not. 

Duke.  Whoe'er  he  be  that  in  this  foul  proceeding 
Hath  thus  beguiled  your  daughter  of  herself 
And  you  of  her,  the  bloody  book  of  law 
You  shall  yourself  read  in  the  bitter  letter 
After  your  own  sense,  yea,  though  our  proper  son 
Stood  in  your  action. 

Bra.  Humbly  I  thank  your  grace.  70 

Here  is  the  man,  this  Moor;  whom  now,  it  seems. 
Your  special  mandate  for  the  state-affairs 
Hath  hither  brought. 

All.  We  are  very  sorry  for  't. 

Duke.    [To  OtJiello]  What  in  your  own  part  can  you  say 
to  this? 

38 


THE  MOOR  OF  VENICE  Act  I.  Sc.  iii. 

Bra.  Nothing,  but  this  is  so. 

Ofh.  Most  potent,  grave,  and  reverend  signiors, 
My  very  noble  and  approved  good  masters, 
That  I  have  ta'en  away  this  old  man's  daughter, 
It  is  most  true;  true,  I  have  married  her: 
The  very  head  and  front  of  my  offending  80 

Hath  this  extent,  no  more.     Rude  am  I  in  my  speech, 
And  little  blest  with  the  soft  phrase  of  peace; 
For  since  these  arms  of  mine  had  seven  years'  pith, 
Till  now  some  nine  moons  w^asted,  they  have  used 
Their  dearest  action  in  the  tented  field;        —  jg 

And  little  of  this  great  world  can  I  speak,  ~^?^'''^       ^-^^  £ 
More  than  pertains  to  feats  of  broil  and  batu^  ^^ 

And  therefore  httle  shall  I  grace  my  cause 
In  speaking  for  myself.     Yet,  by  your  gracious  pa- 
tience, 
I  will  a  round  unvarnish'd  tale  deliver  90 

Of  my  whole  course  of  love  ;  what  drugs,  what  charms, 
What  conjuration  and  what  mighty  magic — 
For  such  proceeding  I  am  charged  withal — 
I  won  his  daughter. 

Bra.  A  maiden  never  bold;  I  VcJuX^*. 

Of  spirit  so  still  and  quiet  that  her  motion  a 

Blush'd  at  herself  ;  and  she — in  spite  of  nature,  ^oflwlftucji 

Of  years,  of  country,  credit,  every  thing — 
To  fall  in  love  with  what  she  fear'd  to  look  on! 
It  is  a  judgement  maim'd  and  most  imperfect. 
That  will  confess  perfection  so  could  err  100 

Against  all  rules  of  nature;   and  must  be  driven 
To  find  out  practices  of  cunning  hell, 
Why  this  should  be.    I  therefore  vouch  again, 
That  wqth  some  mixtures  powerful  o'er  the  blood, 
Or  with  some  dram  conjured  to  this  effect, 

39 


Act  I.  Sc.  iii.  TRAGEDY  OF  OTHELLO, 

He  wrought  upon  her. 

Duke.  To  vouch  this,  is  no  proof, 

Without  more  certain  and  more  overt  test 
Than  these  thin  habits  and  poor  hkeHhoods 
Of  modern  seeming  do  prefer  against  him. 

First  Sen.  But,  Othello,  speak:  no 

Did  you  by  indirect  and  forced  courses 
Subdue  and  poison  this  young  maid's  affections? 
Or  came  it  by  request,  and  such  fair  question 
As  soul  to  soul  affordeth? 

0th.  I  do  beseech -you, 

Send  for  the  lady  to  the  Sagittary, 
And  let  her  speak  of  me  before  her  father: 
If  you  do  find  me  foul  in  her  report. 
The  trust,  the  office  I  do  hold  of  you. 
Not  only  take  away,  but  let  your  sentence 
Even  fall  upon  my  life. 

Duke.  Fetch  Desdemona  hither,   120 

0th.  Ancient,  conduct  them;   you  best  know  the  place. 

[Exeunt  lago  and  Attendants. 
And  till  she  come,  as  truly  as  to  heaven 
I  do  confess  the  vices  of  my  blood. 
So  justly  to  your  grave  ears  I  '11  present 
How  I  did  thrive  in  this  fair  lady's  love 
And  she  in  mine. 

Duke.  Say  it,  Othello. 

0th.  Her  father  loved  me,  oft  invited  me, 
Still  questioned  me  the  story  of  my  life 
From  year  to  year,  the  battles,  sieges,  fortunes,   130 
That  I  have  pass'd. 

I  ran  it  through,  even  from  my  boyish  days 
To  the  very  moment  that  he  bade  me  tell  it: 
40 


THE   MOOR   OF   VENICE  Act  I.  Sc.  iii. 

Wherein  I  spake  of  most  disastrous  chances,  taQLcfli 

Of  moving  accidents  by  flood  and  held,  H    ^ 

Of  hair-breadth  'scapes  i'  the  imminent  deadly  breach,  T 

Of  being  taken  by  the  insolent  foe,  »p  J'^ 

And  sold  to  slavery,  of  my  redemption  thence,  '^^**-«»  f^ 

And  portance  in  my  travels'  history:  ^'<^c9QtA< 

Wherein  of  antres  vast  and  deserts  idle,  140^^^**'^ 

Rough  quarries,  rocks,  and  hills  whose  heads  touch '^^'*^^*' 
heaven,  ^ye^^o^ 

It  was  my  hint  to  speak, — such  was  the  process ;  "^^^^QBtfte^d 
And  of  the  Cannibals  that  each  other  eat,  -»<- 

The  Anthropophagi,  and  men  whose  heads 
Do  grow  beneath  their  shoulders.    This  to  hear 
Would  Desdemona  seriously  incline: 
But  still  the  house-afifairs  would  draw  her  thence; 
Which  ever  as  she  could  with  haste  dispatch, 
She  'Id  come  again,  and  with  a  greedy  ear 
Devour  up  my  discourse:   which  I  observing,       150 
Took  once  a  pliant  hour,  and  found  good  means 
To  draw  from  her  a  prayer  of  earnest  heart 
That  I  would  all  my  pilgrimage  dilate. 
Whereof  by  parcels  she  had  something  heard, 
But  not  intentively  :   I  did  consent, 
And  often  did  beguile  her  of  her  tears 
When  I  did  speak  of  some  distressful  stroke 
That  my  youth  suffer'd.     My  story  being  done, 
She  gave  me  for  my  pains  a  world  of  sighs : 
She  swore,  in   faith,  'twas  strange,  'twas  passing 
strange;  160 

'Twas  pitiful,  'twas  wondrous  pitiful: 
She  wish'd  she  had  not  heard  it,  yet  she  wish'd 
That  heaven  had  made  her  such  a  man :  she  thank'd 
me, 

41 


Act  I.  Sc.  iii.  TRAGEDY  OF  OTHELLO. 

And  bade  me,  if  I  had  a  friend  that  loved  her, 

I  should  but  teach  him  how  to  tell  my  story, 

And  that  would  woo  her.    Upon  this  hint  I  spake: 

She  loved  me  for  the  dangers  I  had  pass'd, 

And  I  loved  her  that  she  did  pity  them. 

This  only  is  the  witchcraft  I  have  used. 

Here  comes  the  lady;  let  her  witness  it.  170 

Enter  Desdemona,  lago,  and  Attendants. 

Duke.  I  think  this  tale  would  win  my  daughter  too. 
Good  Brabantio, 

Take  up  this  mangled  matter  at  the  best: 
Men  do  their  broken  weapons  rather  use 
Than  their  bare  hands. 

Bra.  I  pray  you,  hear  her  speak: 

If  she  confess  that  she  was  half  the  wooer. 
Destruction  on  my  head,  if  my  bad  blame 
Light  on  the  man!    Come  hither,  gentle  mistress: 
Do  you  perceive  in  all  this  noble  company 
Where  most  you  owe  obedience? 

Des.  My  noble  father,     180 

,      I  do  perceive  here  a  divided  duty: 
1     To  you  I  am  bound  for  life  and  education ; 
!     My  life  and  education  both  do  learn  me 
How  to  respect  you;  you  are  the  lord  of  duty, 
I  am  hitherto  your  daughter :  but  here  's  my  husband. 
And  so  much  duty  as  my  mother  show'd 
To  you,  preferring  you  before  her  father. 
So  much  I  challenge  that  I  may  profess 
Due  to  the  Moor  my  lord. 

Bra.  God  be  with  you!    I  have  done. 

Please  it  your  grace,  on  to  the  state-affairs:  190 

42 


THE  MOOR  OF  VENICE  Act  I.  Sc.  iii. 

I  had  rather  to  adopt  a  child  than  get  it. 

Come  hither,  Moor: 

I  here  do  give  thee  that  with  all  my  heart, 

Which,  but  thou  hast  already,  with  all  my  heart 

I  would  keep  from  thee.     For  your  sake,  jewel, 

I  am  glad  at  soul  I  have  no  other  child; 

For  thy  escape  would  teach  me  tyranny, 

To  hang  clogs  on  them.    I  have  done,  my  lord. 
Duke.  Let  me  speak  like  yourself,  and  lay  a  sentence         i    Jfj 

Which,  as  a  grise  or  step,  may  help  these  lovers  200       r    ^ 

Into  your  favour. 

When  remedies  are  past,  the  griefs  are  ended 

By  seeing  the  w^orst,  which  late  on  hopes  depended. 

To  mourn  a  mischief  that  is  past  and  gone 

Is  the  next  way  to  draw  new  mischief  on. 

What  cannot  be  preserved  when  fortune  takes. 

Patience  her  injury  a  mockery  makes. 

The  robb'd  that  smiles  steals  something  from  the  thief, 

He  robs  himself  that  spends  a  bootless  grief. 
Bra.  So  let  the  Turk  of  Cyprus  us  beguile;  210        ^'Y, 

We  lose  it  not  so  long  as  we  can  smile. 

He  bears  the  sentence  well,  that  nothing  bears 

But  the  free  comfort  which  from  thence  he  hears; 

But  he  bears  both  the  sentence  and  the  sorrow, 

That,  to  pay  grief,  must  of  poor  patience  borrow. 

These  ^^VftM^e'^f^sugar  or  to  gall,  Juu^^^d^ 

Being  strong  on  both  sides,  are  equivocal:    ^f  ^^juLfJi^dbx^ 

But  words  are  words;   I  never  yet  did  hear 

That  the  bruised  heart  was  pierced  through  the  ear. 

I  humbly  beseech  you,  proceed  to  the  afifairs  of  state. 
Duke.  The  Turk  with  a  most  mighty  preparation        221 

makes  for  Cyprus.    Othello,  the  fortitude  of  the 

43 


^ 


rt-^ 


Act  I.  Sc.  iii.  TRAGEDY  OF  OTHELLO. 

place  is  best  known  to  you;  and  though  we  have 
there  a  substitute  of  most  allowed  sufficiency, 
yet  opinion,  a  sovereign  mistress  of  effects, 
throws  a  more  safer  voice  on  you:  you  must 
therefore  be  content  to  slubber  the  gloss  of  your 
new  fortunes  with  this  more  stubborn  and  bois- 
terous expedition. 

0th.  The  tyrant  custom,  most  grave  senators,  230 

Hath  made  the  flinty  and  steel  couch  of  war 
My  thrice-driven  bed  of  down :   I  do  agnize 
A  natural  and  prompt  alacrity 
I  find  in  hardness ;   and  do  undertake 
These  present  wars  against  the  Ottomites. 
Most  humbly  therefore  bending  to  your  state, 
I  crave  fit  disposition  for  my  wife, 
Due  reference  of  place  and  exhibition. 
With  such  accommodation  and  besort 
As  levels  with  her  breeding. 

Duke.  If  you  please,  240 

Be  't  at  her  father's. 

Bra.  I  '11  not  have  it  so. 

0th.  Nor  I. 

Des.  Nor  I,  I  would  not  there  reside. 

To  put  my  father  in  impatient  thoughts 
By  being  in  his  eye.    Most  gracious  dukc^ 
To  my  unfolding  lend  your  prosperous  ear. 
And  let  me  find  a  charter  in  your  voice 
To  assist  my  simpleness. 

Duke.  What  would  you,  Desdemona? 

Dcs.  That  I  did  love  the  Moor  to  live  with  him. 

My  downright  violence  and  storm  of  fortunes     250 
May  trumpet  to  the  world :   my  heart  's  subdued 

44 


THE  MOOR  OF  VENICE  Act  I.  Sc.  iii. 

Even  to  the  very  quality  of  my  lord: 

I  5aw  Othello's  visage  in  his  mind, 

And  to  his  honours  and  his  valiant  parts 

Did  I  my  soul  and  fortunes  consecrate. 

So  that,  dear  lords,  if  I  be  left  behind, 

A  moth  of  peace,  and  he  go  to  the  war, 

The  rites  for  which  I  love  him  are  bereft  me,     , 

And  I  a  heavy  interim  shall  support 

By  his  dear  absence.    Let  me  go  with  him.  260 

0th.  Let  her  have  your  voices. 

Vouch  with  me,  heaven,  I  therefore  beg  it  not, 

To  please  the  palate  of  my  appetite; 

Nor  to  comply  with  heat — the  young  affects 

In  me  defunct — and  proper  satisfaction; 

But  to  be  free  and  bounteous  to  her  mind: 

And  heaven  defend  your  good  souls,  that  you  think 

I  will  your  serious  and  great  business  scant 

For  she  is  with  me.     No,  when  light-wing'd  toys 

Of  feather'd  Cupid  seel  with  wanton  dullness       270 

My  speculative  and  officed  instruments, 

That  my  disports  corrupt  and  taint  my  business, 

Let  housewives  make  a  skillet  of  m.y  helm. 

And  all  indign  and  base  adversities 

Make  head  against  my  estimation! 

Duke.  Be  it  as  you  shall  privately  determine. 

Either  for  her  stay  or  going:    the  afifair  cries  haste, 
And  speed  must  answer  't;  you  must  hence  to-night. 

Des.  To-night,  my  lord? 

Duke.  This  night. 

0th.  With  all  my  heart. 

Duke.  At  nine  i'  the  morning  here  we  '11  meet  again.  280 
Othello,  leave  some  officer  behind, 

45 


Act  I.  Sc.  iii.  TRAGEDY  OF  OTHELLO. 

And  he  shall  our  commission  bring  to  you; 
With  such  things  else  of  quality  and  respect' 
As  doth  import  you. 
0th.  So  please  your  grace,  my  ancient; 

A  man  he  is  of  honesty  and  trust: 
To  his  conveyance  I  assign  my  wife, 
With  what  else  needful  your  good  grace  shall  think 
To  be  sent  after  me. 
Duke.  Let  it  be  so. 

"^  jGood  night  to  every  one.     [To  Brah.]   And,  noble 
<iy          signior, 
4^   f  If  virtue  no  delighted  beauty  lack,  290 

Your  son-in-law  is  far  more  fair  than  black. 
First  Sen.  Adieu,  brave  Moor;   use  Desdemona  well. 
Look  to  her,  Moor,  if  thou  hast  eyes  to  see 
She  has  deceived  her  father,  and  may  thee. 

[Exeunt  Duke,  Senators,  Officers,  &c. 
0th.  My  life  upon  her  faith!    Honest  lago. 
My  Desdemona  must  I  leave  to  thee: 
I  prithee,  let  thy  wife  attend  on  her; 
And  bring  them  after  in  the  best  advantage. 
Come,  Desdemona ;  I  have  but  an  hour 
Of  love,  of  worldly  matters  and  direction,  300 

To  spend  with  thee :  we  must  obey  the  time. 

[Exeunt  Othello  and  Desdemona. 
Rod.  lago! 

logo.  What  say'st  thou,  noble  heart? 
Rod.  What  will  I  do,  thinkest  thou? 
lago.  Why,  go  to  bed  and  sleep. 
Rod.  I  will  incontinently  drown  myself. 
lago.  If  thou  dost,  I  shall  never  love  thee  after. 
Why,  thou  silly  gentleman! 
46 


THE  MOOR  OF  VENICE  Act  I.  Sc.  iii. 

Rod.  It  is  silliness  to  live  when  to  live  is  torment; 

and  then  have  we  a  prescription  to  die  when  310 
death  is  our  physician. 

logo.  O  villanons!  I  have  looked  upon  the  world 
for  four  times  seven  years;  and  since  I  could 
distinguish  betwixt  a  benefit  and  an  injury,  I 
never  found  man  that  knew  how  to  love  himself. 
Ere  I  would  say  I  would  drown  myself  for 
the  love  of  a  guinea-hen,  I  would  change  my 
humanity  with  a  baboon. 

Rod.  What  should  I  do?    I  confess  it  is  my  shame 

to  be   so  fond;    but  it  is  not  in  my  virtue  to  320 
amend  it. 

lago.  Virtue!  a  fig!  'tis  in  ourselves  that  we  are 
thus  or  thus.  Our  bodies  are  gardens:  to  the 
which  our  wills  are  gardeners:  so  that  if  we  will 
plant  nettles  or  sow  lettuce,  set  hyssop  and  weed 
up  thyme,  supply  it  with  one  gender  of  herbs  or 
distract  it  with  many,  either  to  have  it  sterile 
with  idleness  or  manured  with  industry,  why, 
the  power  and  corrigible  authority  of  this  Hes 
in  our  wills.  If  the  balance  of  our  lives  had  not  330 
one  scale  of  reason  to  poise  another  of  sensual- 
ity, the  blood  and  baseness  of  our  natures  would 
conduct  us  to  most  preposterous  conclusions: 
but  we  have  reason  to  cool  our  raging  motions, 
our  carnal  stings,  our  unbitted  lusts;  whereof 
I  take  this,  that  you  call  love,  to  be  a  sect  or 
scion. 
Rod.  It  cannot  be. 
lago.  It  is  merely  a  lust  of  the  blood  and  a  permission 

of  the  will.     Come,  be  a  man:    drown  thyself!  340 

47 


Act  I.  Sc.  iii.  TRAGEDY  OF  OTHELLO. 

drown  cats  and  blind  puppies.  I  have  professed 
me  thy  friend,  and  I  confess  me  knit  to  thy 
deserving  with  cables  of  perdurable  toughness: 
I  could  never  better  stead  thee  than  now.  Put 
money  in  thy  purse;  follow  thou  the  wars; 
defeat  thy  favour  with  an  usurped  beard;  I  say, 
put  money  in  thy  purse.  It  cannot  be  that 
Desdemona  should  long  continue  her  love  to 
the  Moor — put  money  in  thy  purse — nor  he  his 
to  her:  it  was  a  violent  commencement,  and  350 
thou  shalt  see  an  answerable  sequestration;  put 
but  money  in  thy  purse.  These  ivloors  are 
changeable  in  their  wills: — fill  thy  purse  with 
money.  The  food  that  to  him  now  is  as  luscious 
as  locusts,  shall  be  to  him  shortly  as  bitter  as 
coloquintida.  She  must  change  for  youth: 
when  she  is  sated  with  his  body,  she  will  find  the 
error  of  her  choice :  she  must  have  change,  she 
must:  therefore  put  money  m  thy  purse.  If 
thou  wilt  needs  damn  thyself,  do  it  a  more  deli-  360 
cate  way  than  drowning.  Make  all  the  money 
thou  canst:  if  sanctimony  and  a  frail  vow  be- 
twixt an  erring  barbarian  and  a  supersubtle 
Venetian  be  not  too  hard  for  my  wits  and  all  the 
tribe  of  hell,  thou  shalt  enjoy  her;  therefore 
make  money.  A  pox  of  drowning  thyself!  it  is 
clean  out  of  the  way:  seek  thou  rather  to  be 
hanged  in  compassmg  thy  joy  than  to  be 
drowned  and  go  without  her. 

Rod.  Wilt  thou  be  fast  to  my  hopes,  if  I  depend  on  370 
the  issue? 

lago.  Thou  art  sure  of  me:   go,  make  money:  I  have 

48 


THE  MOOR  OF  VENICE  Act  I.  Sc.  iii. 

told  thee  often,  and  I  re-tell  thee  again  and 
again,  I  hate  the  Moor :  my  cause  is  hearted ; 
thine  hath  no  less  reason.  Let  us  be  conjunctive 
in  our  revenge  against  him  :  if  thou  canst  cuckold 
him,  thou  dost  thyself  a  pleasure,  me  a  sport. 
There  are  many  events  in  the  womb  of  time, 
which  will  be  delivered.  Traverse ;  go ;  pro- 
vide thy  money.  We  will  have  more  of  this  380 
to-morrow.    Adieu. 

Rod.  Where  shall  we  meet  i'  the  morning? 

lago.  At  my  lodging. 

Rod.  I  '11  be  with  thee  betimes, 

lago.  Go  to  :   farewell.     Do  you  hear,  Roderigo  ? 

Rod.  What  say  you  ? 

lago.  No  more  of  drowning,  do  you  hear? 

Rod.  I  am  changed  :   I  '11  go  sell  all  my  land.  [Exit, 

lago.  Thus  do  I  ever  make  my  fool  my  purse ; 

For  I  mine  own  gain'd  knowledge  should  profane. 

If  I  would  time  expend  with  such  a  snipe  391 

But  for  my  sport  and  profit.     I  hate  the  Moor ; 

And  it  is  thought  abroad  that  'twixt  my  sheets 

He  has  done  my  office  :   I  know  not  if  't  be  true ; 

But  I  for  mere  suspicion  in  th^t  kind 

Will  do  as  if  for  surety.    He  holds  me  well ; 

The  better  shall  my  purpose  work  on  him. 

Cassio  's  a  proper  man  :  let  me  see  now  : 

To  get  his  place,  and  to  plume  up  my  will 

In  double  knavery — How,  how  ? — Let 's  see  : —     400 

After  some  time,  to  abuse  Othello's  ear 

That  he  is  too  familiar  with  his  wife. 

He  hath  a  person  and  a  smooth  dispose 

To  be  suspected ;   framed  to  make  women  false. 

49 


Act  II.  Sc.  i.  TRAGEDY  OF  OTHELLO, 

The  Moor  is  of  a  free  and  open  nature, 
That  thinks  men  honest  that  but  seem  to  be  so ; 
And  will  as  tenderly  be  led  by  the  nose 
As  asses  are. 

I  have  't.    It  is  engender'd.    Hell  and  night 
Must  bring  this  monstrous  birth  to  the  world's  light. 

[Exit. 

ACT  SECOND. 

Scene  I. 

A  sea-port  in  Cyprus,    An  open  place  near  the  quay. 
Enter  Montano  and  tzvo  Gentlemen. 

Mon.  What  from  the  cape  can  you  discern  at  sea? 

First  Gent.  Nothing  at  all :   it  is  a  high-wrought  flood ; 
I  cannot,  'twixt  the  heaven  and  the  main. 
Descry  a  sail. 

Mon.  Alethinks  the  wind  hath  spoke  aloud  at  land  ; 
A  fuller  blast  ne'er  shook  our  battlements : 
If  it  hath  ruffian'd  so  upon  the  sea, 
What  ribs  of  oak,  when  mountains  melt  on  them. 
Can  hold  the  mortise?    What  shall  we  hear  of  this? 

Sec.  Gent.  A  segregation  of  the  Turkish  fleet :  lo 

For  do  but  stand  upon  the  foaming  shore. 
The  chidden  billow  seems  to  pelt  the  clouds 
The  wind-shaked  surge,   with  high  and  monstrous 

mane. 
Seems  to  cast  water  on  the  burning  bear. 
And  quench  the  guards  of  the  ever-fixed  pole : 
I  never  did  like  molestation  view 
On  the  enchafed  flood. 

50 


THE  MOOR  OF  VENICE  Act  II.  Sc.  i. 

Mon.  If  that  the  Turkish  fleet 

Be  not  enshelter'd  and  embay'd,  they  are  drown'd ; 
It  is  impossible  to  bear  it  out. 

Enter  a  third  Gentleman. 

Third  Gent.  News,  lads!    our  wars  are  done.  20 

The  desperate  tempest  hath  so  bang'd  the  Turks, 
That  their  designment  halts  :  a  noble  ship  of  Venice 
Hath  seen  a  grievous  wreck  and  sufferance 
On  most  part  of  their  fleet. 

Mon.  How  !   is  this  true  ? 

Third  Gent.  The  ship  is  here  put  in, 

A  Veronesa  ;   Michael  Cassio, 
Lieutenant  to  the  warlike  Moor  Othello, 
Is  come  on  shore :   the  Moor  himself  at  sea, 
And  is  in  full  commission  here  for  Cyprus. 

Mon.  I  am  glad  on  't ;   'tis  a  worthy  governor.  30 

Third  Gent.  But  this  same  Cassio,   though  he  speak  of 
comfort 
Touching  the  Turkish  loss,  yet  he  looks  sadly 
And  prays  the  Moor  be  safe ;   for  they  were  parted 
With  foul  and  violent  tempest. 

Mon.  Pray  heavens  he  be; 

For  I  have  served  him,  and  the  man  commands 
Like  a  full  soldier.     Let 's  to  the  seaside,  ho ! 
As  well  to  see  the  vessel  that 's  come  in 
As  to  throw  out  our  eyes  for  brave  Othello, 
Even  till  we  make  the  main  and  the  aerial  blue 
An  indistinct  regard. 

Third  Gent.  Come,  let  's  do  so;  40 

For  every  minute  is  expectancy 
Of  more  arrivance. 

SI 


Act  II.  Sc.  i.  '      TRAGEDY  OF  OTHELLO. 

Enter  Cassio. 

Cas.  Thanks,  you  the  valiant  of  this  warlike  isle, 
That  so  approve  the  Moor !   O,  let  the  heavens 
Give  him  defence  against  the  elements, 
For  I  have  lost  him  on  a  dangerous  sea. 

Mon.  Is  he  well  shipp'd? 

Cas.  His  bark  is  stoutly  timber'd,  and  his  pilot 
Of  very  expert  and  approved  allowance; 
Therefore  my  hopes,  not  surfeited  to  death,  50 

Stand  in  bold  cure. 

[A  cry  within  :     '  A  sail,  a  sail,  a  sail ! ' 

Enter  a  fourth  Gentleman. 

Cas.  What  Moise? 

Fourth  Gent.  The  town  is  empty ;   on  the  brow  o'  the  sea 

Stand  ranks  of  people,  and  they  cry  '  A  sail !  ' 
Cas.  My  hopes  do  shape  him  for  the  governor. 

{Giins  heard. 
Sec.  Gent.  They  do  discharge  their  shot  of  courtesy: 

Our  friends  at  least. 
Cas.  I  pray  you,  sir,  go  forth, 

And  give  us  truth  who  'tis  that  is  arrived. 
Sec.  Gent.  I  shall.  [Exit. 

Mon.  But,  good  lieutenant,  is  your  general  wived  ?         60 
Cas.  Most  fortunately :  he  hath  achieved  a  maid 

That  paragons  description  and  wild  fame ; 

One  that  excels  the  quirks  of  blazoning  pens, 

And  in  the  essential  vesture  of  creation 

Does  tire  the  ingener. 

Re-enter  second  Gentleman. 

How  now  !  who  has  put  in  ? 
52 


THE  MOOR  OF  VENICE  Act  II.  Sc.  i. 

Sec.  Gent.  'Tis  one  lago,  ancient  to  the  general. 

Cas.  He  has  had  most  favourable  and  happy  speed  : 

Tempests. themselves,  high  seas,  and  howling  winds. 
The  gutter'd  rocks,  and  congregated  sands, 
Traitors  ensteep'd  to  clog  the  guiltless  keel,  70 

As  having  sense  of  beauty,  do  omit 
Their  mortal  natures,  letting  go  safely  by 
The  divine  Desdemona. 

Mon.  \Miat  is  she? 

Cas.  She  that  I  spake  of,  our  great  captain's  captain, 
Left  in  the  conduct  of  the  bold  lago ; 
Whose  footing  here  anticipates  our  thoughts 
A  se  nnight's  speed.    Great  Jove,  Othello  guard, 
And  swell  his  sail  with  thine  own  powerful  breath, 
That  he  may  bless  this  bay  with  his  tall  ship, 
Make  love's  quick  pants  in  Desdemona's  arms,         80 
Give  renew 'd  fire  to  our  extincted  spirits, 
And  bring  all  Cyprus  comfort. 

Enter  Desdemona,  Emilia,  lago,  Roderigo,  and 
Attendants. 

O,  behold. 

The  riches  of  the  ship  is  come  on  shore ! 

\  e  men  of  Cyprus,  let  her  have  your  knees. 

Hail  to  thee,  lady !   and  the  grace  of  heaven, 

Before,  behind  thee,  and  on  every  hand, 

i^nwheel  thee  round ! 
Des.  I  thank  you,  valiant  Cassio. 

What  tidings  can  you  tell  me  of  my  lord  ? 
Cas,  He  is  not  yet  arrived :  nor  know  I  aught 

But  that  he  's  well  and  will  be  shortly  here.  90 

Des.  O,  but  I  fear — How  lost  you  company  ? 
Cas,  The  great  contention  of  the  sea  and  skies 

53 


Act  II.  Sc.  i.  TRAGEDY  OF  OTHELLO. 

Parted  our  fellowship — But,  hark  !  a  sail. 

[A  cry  zvithin  :   '  A  sail,  a  sail ! '     Guns  heard. 
Sec.  Gent.  They  give  their  greeting  to  the  citadel : 

This  likewise  is  a  friend. 
Cas.  See  for  the  news.      [Exit  Gentleman. 

Good  ancient,  you  are  welcome.    {To  Emilia]   Wel- 
come, mistress : 
Let  it  not  gall  your  patience,  good  lago, 
That  I  extend  my  manners  ;   'tis  my  breeding 
That  gives  me  this  bold  show  of  courtesy.  lOO 

[Kissi)ig  her. 

lago.  Sir,  would  she  give  you  so  much  of  her  lips 
As  of  her  tongue  she  oft  bestows  on  me, 
You  'Id  have  enough. 

Des.  Alas,  she  has  no  speech. 

lago.  In  faith,  too  much  ; 

I  find  it  still  when  I  have  list  to  sleep : 
Marry,  before  your  ladyship,  I  grant, 
She  puts  her  tongue  a  little  in  her  heart 
And  chides  with  thinking. 

Emil.  You  have  little  cause  to  say  so. 

lago.  Come    on,    come    on;     you    are    pictures    out    of 
doors,  no 

Bells  in  your  parlours,  wild-cats  in  your  kitchens. 
Saints  in  your  injuries,  devils  being  offended. 
Players  in  your  housewifery,  and  housewives  in  your 
beds. 

Des.  O,  fie  upon  thee,  slanderer! 

lago.  Nay,  it  is  true,  or  else  I  am  a  Turk : 
You  rise  to  play,  and  go  to  bed  to  work. 

EviiL  You  shall  not  write  my  praise. 

lago.  No,  let  me  not. 

54 


THE  MOOR  OF  VENICE  Act  II.  Sc.  i. 

Dcs.  What  wouldst  thou  write  of  me,  if  thou  shouldst 
praise  me? 

lago.  O  gentle  lady,  do  not  put  me  to  't; 

For  I  am  nothing  if  not  critical.  120 

Dcs.  Come  on,  assay — There  's  one  gone  to  the  harbour? 

lago.  Ay,  madam. 

Des.  I  am  not  merry;   but  I  do  beguile 
The  thing  I  am  by  seeming  otherwise. 
Come,  how  wouldst  thou  praise  me? 

lago.  I  am  about  it;  but  indeed  my  invention 

Comes  from  my  pate  as  birdlime  does  from  frize; 
It  plucks  out  brains  and  all:   but  my  Muse  labours, 
And  thus  she  is  deliver'd. 

If  she  be  fair  and  wise,  fairness  and  wit,  130 

The  one's  for  use,  the  other  useth  it. 

Des.  Well  praised!   How  if  she  be  black  and  witty? 

lago.  If  she  be  black,  and  thereto  have  a  wit. 

She  '11  find  a  white  that  shall  her  blackness  fit. 

Dcs.  Worse  and  worse. 

Entil.  How  if  fair  and  foolish? 

lago.  She  never  yet  was  foolish  that  was  fair; 
For  even  her  folly  help'd  her  to  an  heir. 

Dcs.  These  are  old  fond  paradoxes  to  make  fools 

laugh  i'  the  alehouse.     What  miserable  praise  140 
hast  thou  for  her  that's  foul  and  foolish? 

lago.  There  's  none  so  foul,  and  foolish  thereunto, 
But  does  foul  pranks  which  fair  and  wise  ones  do. 

Dcs.  O  heavy  ignorance  !  thou  praisest  the  worst  best. 
But  what  praise  couldst  thou  bestow  on  a  de- 
serving woman  indeed,  one  that  in  the  author- 
ity of  her  merit  did  justly  put  on  the  vouch  of 
very  malice  itself? 

55 


Act  II.  Sc.  i.  TRAGEDY  OF  OTHELLO. 

lago.  She  that  was  ever  fair  and  never  proud, 

Had  tongue  at  v^ill  and  yet  was  never  loud,  150 

Never  lack'd  gold  and  yet  went  never  gay, 
Fled  from  her  wish  and  yet  said  '  Now  I  may  '; 
She  that,  being  anger'd,  her  revenge  being  nigh. 
Bade  her  wrong  stay  and  her  displeasure  fly; 
She  that  in  wisdom  never  was  so  frail 
To  change  the  cod's  head  for  the  salmon's  tail; 
She  that  could  think  and  ne'er  disclose  her  mind. 
See  suitors  following  and  not  look  behind; 
She  was  a  wight,  if  ever  such  wight  were, — 

Dcs.  To  do  what?  160 

lago.  To  suckle  fools  and  chronicle  small  beer. 

Dcs.  O  most  lame  and  impotent  conclusion !  Do  not 
learn  of  him,  Emilia,  though  he  be  thy  husband. 
How  say  you,  Cassio?  is  he  not  a  most  profane 
and  liberal  counsellor? 

Cas.  He  speaks  home,  madam:  you  may  relish  him 
more  in  the  soldier  than  in  the  scholar. 

lago.  [Asidc^^  He  takes  her  by  the  palm:  ay,  well 
said,  whisper:  with  as  little  a  web  as  this  will  I 
ensnare  as  great  a  fly  as  Cassio.  Ay,  smile  upon  170 
her,  do;  I  will  gyve  thee  in  thine  own  courtship. 
You  say  true;  'tis  so,  indeed:  if  such  tricks  as 
these  strip  you  out  of  your  lieutenantry,  it  had 
been  better  you  had  not  kissed  your  three  fin- 
gers so  oft,  which  now  again  you  are  most  apt 
to  play  the  sir  in.  Very  good;  well  kissed!  an 
excellent  courtesy!  'tis  so,  indeed.  Yet  again 
your  fingers  to  your  lips?  would  they  were  clys- 
ter-pipes for  your  sake! — [Trumpet  within.'] 
The  Moor!     I  know  his  trumpet.  180 

56 


THE  MOOR  OF  VENICE  Act  II.  Sc.  i. 

Cas.  'Tis  truly  so. 

Des.  Let 's  meet  him  and  receive  him. 

Cas.  Lo,  where  he  comes  ! 

Enter  Othello  and  Attendants. 

0th.  O  my  fair  warrior! 

Des.  Aly  dear  Othello ! 

0th.  It  gives  me  wonder  great  as  my  content 

To  see  you  here  before  me.    O  my  soul's  joy ! 

If  after  every  tempest  come  such  calms, 

May  the  winds  blow  till  they  have  waken'd  death! 

And  let  the  labouring  bark  climb  hills  of  seas 

Olympus-high,  and  duck  again  as  low  190 

As  hell 's  from  heaven !    If  it  were  now  to  die, 

'Twere  now  to  be  most  happy  ;   for  I  fear, 

My  soul  hath  her  content  so  absolute 

That  not  another  comfort  like  to  this 

Succeeds  in  unknown  fate. 
Des.  The  heavens  forbid 

But  that  our  loves  and  comforts  should  increase. 

Even  as  our  days  do  grow ! 
0th.  Amen  to  that,  sweet  powers  ! 

I  cannot  speak  enough  of  this  content ; 

It  stops  me  here  ;   it  is  too  much  of  joy  :  199 

And  this,  and  this,  the  greatest  discords  be 

[Kissing  her. 

That  e'er  our  hearts  shall  make! 
I  ago.  \  Aside]  O,  you  arc  well  tuned  now! 

But  I  '11  set  down  the  pegs  that  make  this  music, 

As  honest  as  I  am. 
0th.  Come,  let  us  to  the  castle. 

News,  friends ;    our  wars  are  done,  the  Turks  are 
drown 'd. 

57 


Act  II.  Sc.  i.  TRAGEDY  OF  OTHELLO, 

How  does  my  old  acquaintance  of  this  isle? 

Honey,  you  shall  be  well  desired  in  Cyprus ; 

I  have  found  great  love  amongst  them.    O  my  sweet, 

I  prattle  cut  of  fashion,  and  I  dote 

In  mine  own  comforts.    I  prithee,  good  lago, 

Go  to  the  bay,  and  disembark  my  coffers  :  210 

Bring  thou  the  master  to  the  citadel ; 

He  is  a  good  one,  and  his  worthiness 

Does  challenge  much  respect.    Come,  Desdemona, 

Once  more  well  met  at  Cyprus. 

[Exeunt  all  but  lago  and  Roderigo. 

lago.  Do  thou  meet  me  presently  at  the  harbour. 
Come  hither.  If  thou  be'st  valiant — as,  they 
say,  base  men  being  in  love  have  then  a  nobility 
in  their  natures  more  than  is  native  to  them — 
list  me.  The  lieutenant  to-night  watches  on 
the  court  of  guard.  First,  I  must  tell  thee  this :  220 
Desdemona  is  directly  in  love  with  him. 

Rod.  With  him  ?  why,  'tis  not  possible. 

lago.  Lay  thy  finger  thus,  and  let-  thy  soul  be  in- 
structed. Mark  me  with  what  violence  she  first 
loved  the  Moor,  but  for  bragging,  and  telling  her 
fantastical  lies :  and  will  she  love  him  still  for 
prating  ?  let  not  thy  discreet  heart  think  it.  Her 
eye  must  be  fed ;  and  what  delight  shall  she  have 
to  look  on  the  devil?  When  the  blood  is  made 
dull  with  the  act  of  sport,  there  should  be,  again  230 
to  inflame  it  and  to  give  satiety  a  fresh  appetite, 
loveliness  in  favour,  sympathy  in  years,  manners 
and  beauties ;  all  which  the  Moor  is  defective 
in :  now,  for  want  of  these  required  conveniences, 
her  delicate  tenderness  will  find  itself  abused, 

58 


THE  MOOR  OF  VENICE  Act  II.  Sc.  i. 

begin  to  heave  the  gorge,  disrelish  and  abhor 
the  ]Moor;  very  nature  will  instruct  her  in  it  and 
compel  her  to  some  second  choice.  Now,  sir, 
this  granted — as  it  is  a  most  pregnant  and  un- 
forced position — who  stands  so  eminently  in  240 
the  degree  of  this  fortune  as  Cassio  does?  a 
knave  very  voluble;  no  further  conscionable 
than  in  putting  on  the  mere  form  of  civil  and 
humane  seeming,  for  the  better  compassing 
of  his  salt  and  most  hidden  loose  affection?  why, 
none;  why,  none:  a  slipper  and  subtle  knave; 
a  finder  out  of  occasions;  that  has  an  eye  can 
stamp  and  counterfeit  advantages,  though  true 
advantage  never  present  itself:  a  devilish  knave! 
Besides,  the  knave  is  handsome,  young,  and  hath  250 
all  those  requisites  in  him  that  folly  and  green 
minds  look  after:  a  pestilent  complete  knave; 
and  the  woman  hath  found  him  already. 

Rod.  I  cannot  believe  that  in  her;  she  's  full  of  most 
blest  condition. 

lago.  Blest  fig's-end!  the  wine  she  drinks  is  made 
of  grapes;  if  she  had  been  blest,  she  would 
never  have  loved  the  Moor:  blest  pudding! 
Didst  thou  not  see  her  paddle  with  the  palm  of 
his  hand?  didst  not  mark  that?  260 

Rod.  Yes,  that  I  did;   but  that  was  but  courtesy. 

lago.  Lechery,  by  this  hand;  an  index  and  obscure 
prologue  to  the  history  of  lust  and  foul  thoughts. 
They  met  so  near  with  their  lips  that  their 
breaths  embraced  together.  Villanous  thoughts, 
Roderigo!  when  these  mutualities  so  marshal 
the  way,  hard  at  hand  comes  the  master  and 

S9 


Act  II.  Sc.  i  TRAGEDY  OF  OTHELLO, 

main  exercise,  the  incorporate  conclusion:  pish! 
But,  sir,  be  you  ruled  by  me:  I  have  brought 
you  from  Venice.  Watch  you  to-night;  for  270 
the  command,  I  '11  lay 't  upon  you :  Cassio 
knows  you  not:  I  '11  not  be  far  from  you:  do 
you  find  some  occasion  to  anger  Cassio,  either 
by  speaking  too  loud,  or  tainting  his  discipline, 
or  from  what  other  course  you  please,  which  the 
time  shall  more  favourably  minister. 

Rod.  Well. 

lago.  Sir,  he  is  rash  and  very  sudden  in  choler,  and 
haply  may  strike  at  you:  provoke  him,  that  he 
may;  for  even  out  of  that  will  I  cause  these  of  280 
Cyprus  to  mutiny;  whose  qualification  shall 
come  into  no  true  taste  again  but  by  the  dis- 
planting  of  Cassio.  So  shall  you  have  a  shorter 
journey  to  your  desires  by  the  means  I  shall 
then  have  to  prefer  them,  and  the  impediment 
most  profitably  removed,  without  the  which 
there  were  no  expectation  of  our  prosperity. 

Rod.  I  will  do  this,  if  I  can  bring  it  to  any  oppor- 
tunity. 

Icigo.  I  warrant  thee.     Meet  me  by  and  -by  at  the  290 
citadel:     I    must   fetch   his   necessaries   ashore. 
Farewell. 

Rod.  Adieu.  [Exit. 

logo.  That  Cassio  loves  her,  I  do  well  believe  it; 
That  she  loves  him,  'tis  apt  and  o^  great  credit: 
The  Moor,  howbeit  that  I  endure  him  not, 
Is  of  a  constant,  loving,  noble  nature; 
And  I  dare  think  he  '11  prov^  to  Desdemona 
A.  most  dear  husband.    Now,  I  do  love  her  too, 
60 


THE  MOOR  OF  VENICE  Act  II.  Sc.  ii. 

Not  out  of  absolute  lust,  though  peradventure  300 

I  stand  accountant  for  as  great  a  sin, 

But  partly  led  to  diet  my  revenge, 

For  that  I  do  suspect  the  lusty  Moor 

Hath  leap'd  into  my  seat:   the  thought  whereof 

Doth  like  a  poisonous  mineral  gnaw  my  inwards ; 

And  nothing  can  or  shall  content  my  soul 

Till  I  am  even'd  with  him,  wife  for  wife; 

Or  failing  so,  yet  that  I  put  the  Moor 

At  least  into  a  jealousy  so  strong 

That  judgement  cannot  cure.     Which  thing  to  do, 

If  this  poor  trash  of  Venice,  whom  I  trash  311 

For  his  quick  hunting,  stand  the  putting  on, 

I  '11  have  our  ^Michael  Cassio  on  the  hip, 

Abuse  him  to  the  Moor  in  the  rank  garb; 

For  I  fear  Cassio  with  my  night-cap  too; 

Make  the  Moor  thank  me,  love  me  and  reward  me, 

For  making  him  egregiously  an  ass 

And  practising  upon  his  peace  and  quiet 

Even  to  madness.     'Tis  here,  but  yet  confused:  319 

Knavery's  plain  face  is  never  seen  till  used.      [Exit. 

Scene  II. 

A  street. 

Enter  a  Herald  z^itJi  a  proclamation;  people 
follozving. 

Her.  It  is  Othello's  pleasure,  our  noble  and  valiant 
general,  that  upon  certain  tidings  now  arrived, 
importing  the  mere  perdition  of  the  Turkish 
fleet,  every  man  put  himself  into  triumph:  some 
to  dance,  some  to  make  bonfires,  each  man  to 
what  sport  and  revels  his  addiction  leads  him  :  for, 

61 


Act  II.  Sc.  iii.  TRAGEDY  OF  OTHELLO. 

besides  these  beneficial  news,  it  is  the  celebration 
of  his  nuptial.  So  much  was  his  pleasure  should 
be  proclaimed.  All  offices  are  open,  and  there 
is  full  liberty  of  feasting  from  this  present  hour  lo 
of  five  till  the  bell  have  told  eleven.  Heaven 
bless  the  isle  of  Cyprus  and  our  noble  general 
Othello!  [Exeunt. 

Scene  III. 

A  hall  in  the  castle. 
Enter  Othello,  Desdemona,  Cassio,  and  Attendants. 

0th.  Good  Michael,  look  you  to  the  guard  to-night: 
Let 's  teach  ourselves  that  honourable  stop, 
Not  to  outsport  discretion. 

Cas.  lago  hath  direction  what  to  do; 

But  notwithstanding  with  my  personal  eye 
Will  I  look  to  't. 

0th.  lago  is  most  honest. 

Michael,  good  night:   to-morrow  with  your  earliest 
Let  me  have  speech  with  you.    Come,  my  dear  love. 
The  purchase  made,  the  fruits  are  to  ensue; 
That  profit 's  yet  to  come  'tween  me  and  you.  lo 

Good  night. 

[Exeunt  Othello,  Desdemona,  and  Attendants. 

Enter  lago. 

Cas.  Welcome,  lago;   we  must* to  the  watch. 

lago.  Not  this  hour,  lieutenant ;  'tis  not  yet  ten  o'  the 
clock.  Our  general  cast  us  thus  early  for  the 
love  of  his  Desdemona ;  who  let  us  not  therefore 
62 


THE  MOOR  OF  VENICE  Act  II.  Sc.  iii. 

blame :   he  hath  not  yet  made  wanton  the  night 
with  her,  and  she  is  sport  for  Jove, 

Cas.  She  's  a  most  exquisite  lady. 

lago.  And,  I  '11  warrant  her,  full  of  game. 

Cas.  Indeed  she  's  a  most  fresh  and  delicate  creature.     20 

lago.  What  an  eye  she  has!  methinks  it  sounds  a 
parley  to  provocation. 

Cas.  An  inviting  eye ;   and  yet  methinks  right  modest. 

lago.  And  when  she  speaks,  is  it  not  an  alarum  to 
love? 

Cas.  She  is  indeed  perfection. 

lago.  Well,  happiness  to  their  sheets!     Come,  lieu- 
tenant, I  have  a  stoup  of  wine;   and  here  with- 
out are  a  brace  of  Cyprus  gallants  that  would 
fain   have   a   measure   to   the   health   of   black     30 
Othello. 

Cas.  Not  to-night,  good  lago :  I  have  very  poor  and 
unhappy  brains  for  drinking:  I  could  well  wish 
courtesy  would  invent  some  other  custom  of 
entertainment. 

lago.  O,  they  are  our  friends;  but  one  cup:  I'll 
drink  for  you. 

Cas.  I  have  drunk  but  one  cup  to-night,  and  that 
was  craftily  qualified  too,  and  behold  what  in- 
novation it  makes  here:  I  am  unfortunate  in  the     40 
infirmity,  and  dare  not  task  my  weakness  with 
any  more. 

lago.  What,  man!  'tis  a  night  of  revels:  the  gallants 
desire  it. 

Cas.  Where  are  they? 

lago.  Here  at  the  door;   I  pray  you,  call  them  in. 

Cas.  I  '11  do  't;   but  it  dislikes  me.  [Exit. 

63 


Act  II.  Sc.  iii.  TRAGEDY  OF  OTHELLO, 

I  ago.  If  I  can  fasten  but  one  cup  upon  him, 

With  that  which  he  hath  drunk  to-night  already, 
He  '11  be  as  full  of  quarrel  and  offence  50 

As  my  young  mistress'   dOg.     Now  my  sick   fool 

Roderigo, 
Whom  love  hath  turn'd  almost  the  wrong  side  out, 
To  Desdemona  hath  to-night  caroused 
Potations  pottle-deep;  and  he  's  to  watch: 
Three  lads  of  Cyprus,  noble  swelHng  spirits. 
That  hold  their  honours  in  a  wary  distance, 
The  very  elements  of  this  warlike  isle, 
Have  I  to-night  fluster'd  with  flowing  cups, 
And  they  watch  too.     Now,  'mongst  this  flock  of 

drunkards, 
Am  I  to  put  our  Cassio  in  some  action  60 

That  may  offend  the  isle.     But  here  they  come: 
If  consequence  do  but  approve  my  dream, 
My  boat  sails  freely,  both  with  wind  and  stream. 

Re-enter  Cassio;  with  him  Montano  and  Gentlemen; 
Servants  folloiving  zvith  zvine. 

Cas.  'Fore  God,  they  have  given  me  a  rouse  already. 
Mon.  Good  faith,  a  little  one;    not  past  a  pint,  as  I 

am  a  soldier. 
lago.  Some  wine,  ho! 

f^/n^^^]      And  let  me  the  canakin  cHnk,  clink; 
And  let  me  the  canakin  clink: 

A  soldier  's  a  man;  70 

A  life's  but  a  span; 
Why  then  let  a  soldier  drink. 
Some  wine,  boys! 

Cas.  'Fore  God,  an  excellent  song. 

64 


THE  MOOR  OF  VENICE  Act  II.  Sc.  iii. 

lago.  I  learned  it  in  England,  where  indeed  they  are 
most  potest  in  potting:  your  Dane,  your  Ger- 
man, and  your  swag-bellied  Hollander, — Drink, 
ho! — are  nothing  to  your  EngHsh. 

Cas.  Is  your  Englishman  so  expert  in  his  drinking? 

lago.  Why,  he  drinks  you  with  facility  your  Dane     80 
dead  drunk;   he  sweats  not  to  overthrow  your 
Almain;    he  gives  your  Hollander  a  vomit  ere 
the  next  pottle  can  be  filled. 

Cas.  To  the  health  of  our  general! 

Mon.  I  am  for  it,  lieutenant,  and  I  '11  do  you  justice. 

lago.  O  sweet  England! 

r^/;z^^]      King  Stephen  was  a  worthy  peer, 

His  breeches  cost  him  but  a  crown; 
He  held  them  sixpence  all  too  dear. 

With  that  he  call'd  the  tailor  lown.  90 

He  was  a  wight  of  high  renown, 
And  thou  art  but  of  low  degree : 

'Tis  pride  that  pulls  the  country  down; 
Then  take  thine  auld  cloak  about  thee. 

Some  wine,  ho! 
Cas.  Why,  this  is  a  more  exquisite  song  than  the 

other. 
lago.  Will  you  hear  't  again? 
Cas.  No;  for  I  hold  him  to  be  unworthy  of  his  place 

that  does  those  things.     Well:    God's   above   100 

all;  and  there  be  souls  must  be  saved,  and  there 

be  souls  must  not  be  saved. 
lago.  It 's  true,  good  lieutenant. 
Cas.  For  mine  own  part — no  ofifence  to  the  general, 

nor  any  man  of  quality — I  hope  to  be  saved. 

65 


Act  II.  Sc.  iii.  TRAGEDY  OF  OTHELLO. 

lago.  And  so  do  I  too,  lieutenant. 

Cas,  Ay,  but,  by  your  leave,  not  before*  me;  the 
lieutenant  is  to  be  saved  before  the  ancient. 
Let 's  have  no  more  of  this;  let 's  to  our  affairs. 
God  forgive  us  our  sins!  Gentlemen,  let 's  look  no 
to  our  business.  Do  not  think,  gentlemen,  I  am 
drunk:  this  is  my  ancient:  this  is  my  right 
hand,  and  this  is  my  left.  I  am  not  drunk 
now;  I  can  stand  well  enough,  and  speak  well 
enough.  "^ 

All.  Excellent  well. 

Cas.  Why,  very  well  then;   you  must  not  think  then 

that  I  am  drunk.  [Exit. 

Mon.  To  the  platform,  masters;   come,  let 's  set  the 

watch.  1 20 

lago.  You  see  this  fellow  that  is  gone  before; 
He  is  a  soldier  fit  to  stand  by  Caesar 
And  give  direction:   and  do  but  see  his  vice; 
'Tis  to  his  virtue  a  just  equinox. 
The  one  as  long  as  the  other:    'tis  pity  of  him. 
I  fear  the  trust  Othello  puts  him  in 
On  some  odd  time  of  his  infirmity 
Will  shake  this  island. 

Mon.  But  is  he  often  thus? 

lago.  Tis  evermore  the  prologue  to  his  sleep: 

He  '11  watch  the  horologe  a  double  set,  130 

If  drink  rock  not  his  cradle. 

Mon.  It  were  well 

The  general  w^ere  put  in  mind  of  it. 
Perhaps  he  sees  it  not,  or  his  good  nature 
Prizes  the  virtue  that  appears  in  Cassio 
And  looks  not  on  his  evils:   is  not  this  true? 
66 


THE  MOOR  OF  VENICE  Act  II.  Sc.  iii. 

Enter  Rodcrigo. 

lago.    [Aside  to  hini]  How  now,  Roderigo ! 

I  pray  you,  after  the  lieutenant ;  go  !  [Exit  Roderigo. 
Mon.  And  'tis  great  pity  that  the  noble  Moor 

Should  hazard  such  a  place  as  his  own  second 

With  one  of  an  ingraft  infirmity :  140 

It  were  an  honest  action  to  say 

So  to  the  Moor. 
lago.  Not  I,  for  this  fair  island : 

I  do  love  Cassio  well,  and  would  do  much 

To  cure  him  of  this  evil: — But,  hark!   what  noise? 
[A  cry  within:  *  Help  !  help  ! ' 

Re-enter  Cassio,  drivim^  in  Roderis^o. 

Cas.  'Zounds  !   you  rogue  !   you  rascal ! 

Mo}i.  What  's  the  matter,  lieutenant? 

Cas.  A  knave  teach  me  my  duty !     But  I  '11  beat  the 

knave  into  a  wicker  bottle. 
Rod.  Beat  me ! 

Cas.  Dost  thou  prate,  rogue  ?        [Striking  Roderigo.   150 
Mon.  Nay,  good  lieutenant ;    I  pray  you,  sir,  hold 

your  hand. 
Cas.  Let  me  go,  sir,  or  I  '11  knock  you  o'er  the  mazzard. 
Mon.  Come,  come,  you  're  drunk. 

Cas.  Drunk!  [They  fight. 

lago.    [Aside  to  Roderigo]  Away,  I  say;   go  out,  and  cry 

a  mutiny.  [E,rit  Roderigo. 

Nay,  good  lieutenant !    God's  will,  gentlemen  ! 

Help,  ho ! — Lieutenant, — sir, — Montano, — sir  ; — 

Help,  masters  ! — Here  's  a  goodly  watch  indeed  ! 

[A  bell  rings. 

Who  's  that  that  rings  the  bell  ?— Diablo,  ho  ! 

67 


Act  II.  Sc.  iii.  TRAGEDY  OF  OTHELLO. 

The  town  will  rise :   God's  will,  lieutenant,  hold ;  i6o 
You  will  be  shamed  for  ever. 

Re-enter  Othello  and  Attendants. 

0th.  What  is  the  matter  here? 

Mon.   "Zounds,  I  bleed  still ;   I  am  hurt  to  the  death. 

[Faints. 

0th.  Hold,  for  your  lives  ! 

lago.  Hold,     ho!      Lieutenant, — sir, — Montano, — gentle- 
men,— 
Have  you  forgot  all  sense  of  place  and  duty? 
Hold!  the  general  speaks  to  you;  hold,  hold,  for  shame! 

0th.  Why,  how  now,  ho  !   from  whence  ariseth  this  ? 
•  Are  we  turn'd  Turks,  and  to  ourselves  do  that 
Which  heaven  hath  forbid  the  Ottomites  ? 
For  Christian  shame,  put  by  this  barbarous  brawl : 
He  that  stirs  next  to  carve  for  his  own  rage  171 

Holds  his  soul  light ;  he  dies  upon  his  motion. 
Silence  that  dreadful  bell :   it  frights  the  isle 
From  her  propriety.    W^hat  is  the  matter,  masters  ? 
Honest  lago,  that  look'st  dead  with  grieving, 
Speak,  w^ho  began  this  ?  on  thy  love,  I  charge  thee. 

lago.  I  do  not  know :   friends  all  but  now,  even  now, 
In  quarter,  and  in  terms  like  bride  and  groom 
Devesting  them  for  bed ;   and  then,  but  now, 
As  if  some  planet  had  unwitted  men,  180 

vSwords  out,  and  tilting  one  at  other's  breast. 
In  opposition  bloody.     I  cannot  speak 
Any  beginning  to  this  peevish  odds  ; 
And  would  in  action  glorious  I  had  lost 
Those  legs  that  brought  me  to  a  part  of  it ! 

0th.  How  comes  it,  Michael,  you  are  thus  forgot? 

68 


THE  MOOR  OF  VENICE  Act  II.  Sc.  iii. 

Cas.  I  pray  you,  pardon  me;   I  cannot  speak. 

0th.  Worthy  Montano,  you  were  wont  be  civil; 
The  gravity  and  stillness  of  your  youth 
The  world  hath  noted,  and  your  name  is  great    190 
In  mouths  of  wisest  censure:    what's  the  matter, 
That  you  unlace  your  reputation  thus, 
And  spend  your  rich  opinion  for  the  name 
Of  a  night-brawler?  give  me  answer  to  it. 

Mon.  Worthy  Othello,  I  am  hurt  to  danger: 
Your  ofBcer,  lago,  can  inform  you — 
While  I  spare  speech,  which  something  now  ofTends 

me — 
Of  all  that  I  do  know:  nor  know  I  aught 
By  me  that 's  said  or  done  amiss  this  night; 
Unless  self-charity  be  sometimes  a  vice,  200 

And  to  defend  ourselves  it  be  a  sin 
When  violence  assails  us. 

0th.  Now,  by  heaven, 

My  blood  begins  my  safer  guides  to  rule, 
And  passion,  having  my  best  judgement  collied, 
Assays  to  lead  the  way:  if  I  once  stir. 
Or  do  but  hft  this  arm,  the  best  of  you 
Shall  sink  in  my  rebuke.    Give  me  to  know 
How  this  foul  rout  began,  who  set  it  on, 
And  he  that  is  approved  in  this  ofifence, 
Though  he  had  twinn'd  with  me,  both  at  a  birth,  210 
Shall  lose  me.     What,  in  a  town  of  war, 
Yet  wild,  the  people's  hearts  brimful  of  fear. 
To  manage  private  and  domestic  quarrel. 
In  night,  and  on  the  court  and  guard  of  safety! 
'Tis  monstrous.     lago,  who  began 't? 

Mon.  If  partially  affined,  or  leagued  in  ofifice, 
Thou  dost  deliver  more  or  less  than  truth, 

69 


Act  II.  Sc.  iii.  TRAGEDY  OF  OTHELLO. 

Thou  art  no  soldier. 

I  ago.  Touch  me  not  so  near: 

I  had  rather  have  this  tongue  cut  from  my  mouth 

Than  it  should  do  offence  to  Michael  Cassio;       220 

Yet,  I  persuade  myself,  to  speak  the  truth 

Shall  nothing  wrong  him.     Thus  it  is,  general. 

Montano  and  myself  being  in  speech, 

There  comes  a  fellow  crying  out  for  help, 

And  Cassio  following  him  with  determined  sword, 

To  execute  upon  him.    Sir,  this  gentleman 

Steps  in  to  Cassio  and  entreats  his  pause: 

Myself  the  crying  fellow  did  pursue. 

Lest  by  his  clamour — as  it  so  fell  out —  229 

The  town  might  fall  in  fright:    he,  swift  of  foot, 

Outran  my  purpose;    and  I  return'd  the  rather 

For  that  I  heard  the  clink  and  fall  of  swords, 

And  Cassio  high  in  oath;   which  till  to-night 

I  ne'er  might  say  before.     When  I  came  back — 

For  this  was  brief — I  found  them  close  together, 

At  blow  and  thrust;    even  as  again  they  were 

When  you  yourself  did  part  them. 

More  of  this  matter  cannot  I  report: 

But  men  are  men;   the  best  sometimes  forget: 

Though  Cassio  did  some  little  wrong  to  him,       240 

As  men  in  rage  strike  those  that  wish  them  best, 

Yet  surely  Cassio,  I  believe,  received 

From  him  that  fled  some  strange  indignity. 

Which  patience  could  not  pass. 

0th.  I  know,  lago. 

Thy  honesty  and  love  doth  mince  this  matter, 
Making  it  light  to  Cassio.     Cassio,  I  love  thee; 
But  never  more  be  officer  of  mine. 
70 


THE  MOOR  OF  VENICE  Act  II.  Sc.  iii. 

Re-enter  Desdcinona,  attended. 

Look,  if  my  gentle  love  be  not  raised  up ! 
I  '11  make  thee  an  example. 

Des.  What 's  the  matter? 

0th.  All  's  well  now,  sweeting;   come  away  to  bed,      250 
Sir,  for  your  hurts,  myself  will  be  your  surgeon : 

[To  Montana,  who  is  led  off. 
Lead  him  off. 

lago,  look  with  care  about  the  town, 
xA.nd  silence  those  whom  this  vile  brawl  distracted. 
Come,  Desdemona :   'tis  the  soldiers'  life 
To  have  their  balmy  slumbers  waked  with  strife. 

[Exeunt  all  but  lago  and  Cassio, 

lago.  What,  are  you  hurt,  lieutenant  ? 

Cas.  Ay,  past  all  surgery. 

lago.  Marry,  heaven  forbid! 

Cas.  Reputation,  reputation,  reputation  !     O,  I  have  260 
lost  my  reputation !     I  have  lost  the  immortal 
part   of   myself,    and    what    remains    is   bestial. 
My  reputation,  lago,  my  reputation ! 

lago.  As  I  am  an  honest  man,  I  thought  you  had 
received  some  bodily  wound ;  there  is  more 
sense  in  that  than  in  reputation.  Reputation  is 
an  idle  and  most  false  imposition  ;  oft  got  with- 
out merit  and  lost  without  deserving:  you  have 
lost  no  reputation  at  all,  unless  you  repute  your- 
self such  a  loser.  What,  man !  there  are  ways  270 
to  recover  the  general  again :  you  are  but  now 
cast  in  his  mood,  a  punishment  more  in  policy 
than  in  malice ;  even  so  as  one  would  beat  his 
offenceless  dog  to  affright  an  imperious  lion : 
sue  to  him  again,  and  he  's  yours. 

71 


Act  II.  Sc.  iii.  TRAGEDY  OF  OTHELLO. 

Cas.  I  will  rather  sue  to  be  despised  than  to  deceive 
so  good  a  commander  with  so  slight,  so  drunken, 
and  so  indiscreet  an  officer.  Drunk  ?  and  speak 
parrot?  and  squabble?  swagger?  swear?  and 
discourse  fustian  with  one's  own  shadow?  O  280 
thou  invisible  spirit  of  wine,  if  thou  hast  no 
name  to  be  known  by,  let  us  call  thee  devil ! 

lago.  What  was  he  that  you  followed  with  your 
sword  ?    What  had  he  done  to  you  ? 

Cas.  I  know  not. 

lago.  Is 't  possible? 

Cas.  I  remember  a  mass  of  things,  but  nothing  dis- 
tinctly ;  a  quarrel,  but  nothing  wherefore.  O 
God,  that  men  should  put  an  enemy  in  their 
mouths  to  steal  away  their  brains !  that  we  290 
should,  with  joy,  pleasance,  revel  and  applause, 
transform  ourselves  into  beasts  ! 

lago.  \\' hy,  but  you  are  now  well  enough :  how 
came  you  thus  recovered  ? 

Cas.  It  hath  pleased  the  devil  drunkenness  to  give 
place  to  the  devil  wrath :  one  unperfectness 
shows  me  another,  to  make  me  frankly  despise 
myself. 

la^o.  Come,  you  are  too  severe  a  moraler :    as  the 

time,  the  place,  and  the  condition  of  this  country  300 
stands,  I  could  heartily  wish  this  had  not  be- 
fallen ;   but  since  it  is  as  it  is,  mend  it  for  your 
own  good. 

Cas.  I  will  ask  him  for  my  place  again ;    he  shall 

tell   me   I    am   a   drunkard !      Had   I   as   many 

mouths  as  Hydra,  such  an  answer  would  stop 

them  all.     To  be  now  a  sensible  man,  by  and 

72- 


THE  MOOR  OF  VENICE  Act  II.  Sc.  iii. 

by  a  fool,  and  presently  a  beast!  O  strange! 
Every  inordinate  cup  is  unblest,  and  the  in- 
gredient is  a  devil.  310 

lago.  Come,  come,  good  wine  is  a  good  familiar 
creature,  if  it  be  well  used:  exclaim  no  more 
against  it.  And,  good  lieutenant,  I  think  you 
think  I  love  you. 

Cas.  I  have  well  approved  it,  sir.     I  drunk! 

lago.  You  or  any  man  living  may  be  drunk  at  some 
time,  man.  I  '11  tell  you  what  you  shall  do. 
Our  general's  wife  is  now  the  general.  I  mav 
say  so  in  this  respect,  for  that  he  hath  devoted 
and  given  up  himself  to  the  contemplation,  mark  320 
and  denotement  of  her  parts  and  graces:  con- 
fess yourself  freely  to  her;  importune  her  help 
to  put  you  in  your  place  again :  she  is  of  so  free, 
so  kind,  so  apt,  so  blessed  a  disposition,  she 
holds  it  a  vice  in  her  goodness  not  to  do  more 
than  she  is  requested :  this  broken  joint  between 
you  and  her  husband  entreat  her  to  splinter; 
and,  my  fortunes  against  any  lay  worth  naming, 
this  crack  of  your  love  shall  grow  stronger  than 
it  was  before.  330 

Cas.  You  advise  me  well. 

lago.  I  protest,  in  the  sincerity  of  love  and  honest 
kindness. 

Cas.  I  think  it  freely;  and  betimes  in  the  morning  I 
will  beseech  the  virtuous  Desdemona  to  under- 
take for  me:  I  am  desperate  of  my  fortunes  if 
they  check  me  here. 

lago.  You  are  in  the  right.  Good  night,  lieutenant; 
I  must  to  the  watch. 

72 


Act  II.  Sc.  iii.  TRAGEDY  OF  OTHELLO. 

Cas.  Good  night,  honest  lago.  [Exit.  340 

lago.  And  what 's  he  then  that  says  I  play  the  villain? 
When  this  advice  is  free  I  give  and  honest, 
Probal  to  thinking,  and  indeed  the  course 
To  v^in  the  Moor  again?     For  'tis  most  easy 
The  inclining  Desdemona  to  subdue 
In  any  honest  suit.     She  's  framed  as  fruitful 
As  the  free  elements.    And  then  for  her 
To  w^in  the  Moor,  w^ere  't  to  renounce  his  baptism, 
All  seals  and  symbols  of  redeemed  sin, 
His  soul  is  so  enfetter'd  to  her  love,  350 

That  she  may  make,  unmake,  do  what  she  list, 
Even  as  her  appetite  shall  play  the  god 
With  his  weak  function.    How  am  I  then  a  villain 
To  counsel  Cassio  to  this  parallel  course, 
Directly  to  his  good?     Divinity  of  hell! 
When  devils  will  the  blackest  sins  put  on, 
They  do  suggest  at  first  with  heavenly  shows, 
As  I  do  now:   for  whiles  this  honest  fool 
Plies  Desdemona  to  repair  his  fortunes, 
And  she  for  him  pleads  strongly  to  the  Moor,      360 
I  '11  pour  this  pestilence  into  his  ear. 
That  she  repeals  him  for  her  body's  lust; 
And  by  how  much  she  strives  to  do  him  good, 
She  shall  undo  her  credit  with  the  Moor. 
So  will  I  turn  her  virtue  into  pitch; 
And  out  of  her  own  goodness  make  the  net 
That  shall  enmesh  them  all. 

Enter  Rodcrigo. 

How  now,  Roderigo! 
Rod.  I  do  follow  here  in  the  chase,  not  like  a  hound 

74 


THE  MOOR  OF  VENICE  Act  II.  Sc.  iii. 

that  hunts,  but  one  that  fills  up  the  cry.     My 
money  is  almost  spent;    I  have  been  to-night  370 
exceedingly  well  cudgelled;    and    I    think    the 
issue  will  be,  I  shall  have  so  rijuch  experience 
for  my  pains ;   and  so,  with  no  money  at  all  and 
a  little  more  wit,  return  again  to  Venice. 
I  ago.  How  poor  are  they  that  have  not  patience! 
What  wound  did  ever  heal  but  by  degrees? 
Thou  know'st  we  work  by  wit  and  not  by  witch- 
craft, 
And  wit  depends  on  dilatory  time. 
Does  't  not  go  well?    Cassio  hath  beaten  thee,    380 
And  thou  by  that  small  hurt  hast  cashier'd  Cassio: 
Though  other  things  grow  fair  against  the  sun, 
Yet  fruits  that  blossom  first  will  first  be  ripe: 
Content  thyself  awhile.     By  the  mass,  'tis  morning; 
Pleasure  and  action  make  the  hours  seem  short. 
Retire  thee;   go  where  thou  art  billeted: 
Away,  I  say;  thou  shalt  know  more  hereafter: 
Nay,  get  thee  gone.      [Exit  Rod.]     Two  things  are 

to  be  done: 
My  wife  must  move  for  Cassio  to  her  mistress; 
I'll  set  her  on;  39° 

Myself  the  while  to  draw  the  Moor  apart, 
And  bring  him  jump  when  he  may  Cassio  find 
Soliciting  his  wife:    ay,  that  's  the  way; 
Dull  not  device  by  coldness  and  delay.  [Exit. 


75 


Act  III.  Sc.  i.  TRAGEDY  OF  OTHELLO, 

ACT  THIRD. 

Scene  I. 

Before  the  castle. 

Enter  Cassio  and  some  Musicians. 

Cas.  Masters,  play  here;   I  will  content  your  pains; 

Something  that  's  brief;    and  bid    '  Good    morrow, 
general.'  [Music. 

Enter  Cloivn. 

Clo.  Why,  masters,  have  your  instruments  been  in 
Naples,  that  they  speak  i'  the  nose  thus? 

First  M us.  How,  sir,  how? 

Clo.  Are  these,  I  pray  you,  wind-instruments? 

First  Mas.  Ay,  marry,  are  they,  sir. 

Clo.  O,  thereby  hangs  a  tail. 

First  Mils.  Whereby  hangs  a  tale,  sir? 

Clo.  Marry,  sir,  by  many  a  wind-instrument  that  I     lo 
know.     But,  masters,  here  's  money  for  you: 
and  the  general  so  likes  your  music,  that  he  de- 
sires you,  for  love's  sake,  to  make  no  more  noise 
with  it. 

First  Mils.  Well,  sir,  we  will  not. 

Clo.  If  you  have  any  music  that  may  not  be  heard, 
to  't  again:  but,  as  they  say,  to  hear  music  the 
general  does  not  greatly  care. 

First  Mus.  We  have  none  such,  sir. 

Clo.  Then  put  up  your  pipes  in  your  bag,  for  I  '11     20 
away:   go;   vanish  into  air;   away! 

[Exeunt  Musicians. 

Cas.  Dost  thou  hear,  my  honest  friend  ? 

76 


THE  MOOR  OF  VENICE  Act  III.  Sc.  i. 

Clo.  No,  I  hear  not  your  honest  friend;   I  hear  you. 

Cas,  Prithee,  keep  up  thy  quillets.  There  's  a  poor 
piece  of  gold  for  thee:  if  the  gentlewoman  that 
attends  the  general's  wife  be  stirring,  tell  her 
there  's  one  Cassio  entreats  her  a  little  favour  of 
speech:  wilt  thou  do  this? 

Clo.   She  is  stirring,  sir :  if  she  will  stir  hither,  I  shall 

seem  to  notify  unto  her.  30 

Cas.  Do,  good  my  friend.  {Exit  Clown. 

Enter  lago. 

In  happy  time,  lago. 

lago.  You  have  not  been  a-bed,  then? 

Cas.  Why,  no;  the  day  had  broke 

Before  we  parted.    I  have  made  bold,  lago, 
To  send  in  to  your  wife:   my  suit  to  her 
Is,  that  she  will  to  virtuous  Desdemona 
Procure  me  some  access. 

lago.  I  '11  send  her  to  you  presently; 

And  I  '11  devise  a  mean  to  draw  the  Moor 
Out  of  the  way,  that  your  converse  and  business 
May  be  more  free.  40 

Cas.  I  humbly  thank  you  for 't.   [Exit  lago.]   I  never  knew 
A  Florentine  more  kind  and  honest. 

Enter  Emilia. 

Emil.  Good  morrow,  good  lieutenant:   I  am  sorry 
For  your  displeasure;  but  all  will  sure  be  well. 
The  general  and  his  wife  are  talking  of  it, 
And  she  speaks  for  you  stoutly:   the  Moor  replies, 
That  he  you  hurt  is  of  great  fame  in  Cyprus 
And  great  affinity,  and  that  in  wholesome  wisdom 

77 


Act  III.  Sc.  ii.=iii.      TRAGEDY  OF  OTHELLO. 

He  might  not  but  refuse  you;    but  he  protests  he 
loves  you, 

And  needs  no  other  suitor  but  his  Hkings  50 

To  take  the  safest  occasion  by  the  front 

To  bring  you  in  again. 
Cas.  Yet,  I  beseech  you, 

If  you  think  fit,  or  that  it  may  be  done, 

Give  me  advantage  of  some  brief  discourse 

With  Desdemona  alone. 
Einil.  Pray  you,  come  in: 

I  will  bestow  you  where  you  shall  have  time 

To  speak  your  bosom  freely. 
Cas.  I  am  much  bound  to  you. 

[Exeunt. 

Scene  IL 

A  room  in  the  castle. 
Enter  Othello,  lago,  and  Gentlemen. 

0th.  These  letters  give,  lago,  to  the  pilot; 
And  by  him  do  my  duties  to  the  senate: 
That  done,  I  will  be  walking  on  the  works; 
Repair  there  to  me. 

lago.  Well,  my  good  lord,  I  '11  do  't. 

0th.  This  fortification,  gentlemen,  shall  we  see  't? 

Gent.  We  '11  wait  upon  your  lordship.  [Exeunt. 

Scene  IIL 

The  garden  of  the  castle. 

Enter  Desdemona,  Cassio,  and  Emilia. 

Des.  Be  thou  assured,  good  Cassio,  I  will  do 
All  my  abilities  in  thy  behalf. 

78 


THE  MOOR  OF  VENICE  Act  III.  Sc.  iii. 

Emil.  Good  madam,  do :  I  warrant  it  grieves  my  husband 

As  if  the  case  were  his. 
Des.  O,  that 's  an  honest  fellow.     Do  not  doubt,  Cassio, 

But  I  will  have  my  lord  and  you  again 

As  friendly  as  you  were. 

Cas.  Bounteous  madam, 

Whatever  shall  become  of  Michael  Cassio, 
He  's  never  any  thing  but  your  true  servant. 

Des.  I  know  't :  I  thank  you.    You  do  love  my  lord  :     lo 
You  have  known  him  long;  and  be  you  well  assured 
He  shall  in  strangeness  stand  no  farther  off 
Than  in  a  politic  distance. 

Cas.  ,  Ay,  but,  lady, 

That  policy  may  either  last  so  long. 
Or  feed  upon  such  nice  and  waterish  diet, 
Or  breed  itself  so  out  of  circumstance, 
That,  I  being  absent  and  my  place  supplied, 
My  general  will  forget  my  love  and  service. 

Des.  Do  not  doubt  that;   before  Emilia  here 

I  give  thee  warrant  of  thy  place:   assure  thee,       20 

If  I  do  vow  a  friendship,  I  '11  perform  it 

To  the  last  article:   my  lord  shall  never  rest; 

I  '11  watch  him  tame  and  talk  him  out  of  patience; 

His  bed  shall  seem  a  school,  his  board  a  shrift; 

I  '11  intermingle  every  thing  he  does 

With  Cassio's  suit:   therefore  be  merry,  Cassio; 

For  thy  solicitor  shall  rather  die 

Than  give  thy  cause  away. 

Enter  Othello  and  lago,  at  a  distance. 

Emil.  Madam,  here  comes  my  lord. 

Cas.  Madam,  I  '11  take  my  leave.  30 

79 


Act  III.  Sc.  iii.  TRAGEDY  OF  OTHELLO. 

Dcs.  Nay,  stay  and  hear  me  speak. 

Cas.  Madam,  not  now :    I  am  very  ill  at  ease, 

Unfit  for  mine  own  purposes. 
Dcs.  Well,  do  your  discretion.  [Exit  Cassio. 

I  ago.  Ha!   I  like  not  that. 
0th.  What  dost  thou  say? 

I  ago.   Nothing,  my  lord :   or  if — I  know  not  what. 
0th.  Was  not  that  Cassio  parted  from  my  wife? 
I  ago.  Cassio,  my  lord !   No,  sure,  I  cannot  think  it, 

That  he  would  steal  away  so  guilty-like, 

Seeing  you  coming. 
0th.  I  do  believe  'twas  he. 

Des.  How  now,  my  lord! 

I  have  been  talking  with  a  suitor  here. 

A  man  that  languishes  in  your  displeasure. 
0th.  Who  is  't  you  mean? 
Dcs.  Why,  your  lieutenant,  Cassio.    Good  my  lord, 

If  I  have  any  grace  or  power  to  move  you. 

His  present  reconciliation  take; 

For  if  he  be  not  one  that  truly  loves  you. 

That  errs  in  ignorance  and  not  in  cunning, 

I  have  no  judgement  in  an  honest  face:  50 

I  prithee,  call  him  back. 
0th.  Went  he  hence  now? 

Dcs.  Ay,  sooth;  so  humbled. 

That  he  hath  left  part  of  his  grief  with  me, 

To  suffer  with  him.  Good  love,  call  him  back. 
0th.  Not  now,  sweet  Desdemona;  some  other  time. 
Dcs.  But  shall 't  be  shortly? 

0th.  The'  sooner,  sweet,  for  you. 

Dcs.  Shall 't  be  to-night  at  supper? 
0th.  No,  not  to-night. 

80 


THE  MOOR  OF  VENICE  Act  III.  Sc.  iii. 

' Dcs.  To-morrow  dinner  then? 

0th.  I  shall  not  dine  at  home ; 

I  meet  the  captains  at  the  citadel. 

Des.  Why  then  to-morrow  night;  or  Tuesday  morn;    60 
On  Tuesday  noon,  or  night;   on  Wednesday  morn: 
I  prithee,  name  the  time;   but  let  it  not 
Exceed  three  days:   in  faith,  he  's  penitent; 
And  yet  his  trespass,  in  our  common  reason — 
Save  that,  they  say,  the  wars  must  make  examples 
Out  of  their  best — is  not  almost  a  fault 
To  incur  a  private  check.     When  shall  he  come? 
Tell  me,  Othello:   I  wonder  in  my  soul, 
What  you  would  ask  me,  that  I  should  deny,  69 

Or  stand  so  mammering  on.   What !   Michael  Cassio, 
That  came  a-wooing  with  you,  and  so  many  a  time 
When  I  have  spoke  of  you  dispraisingly 
Hath  ta'en  your  part;  to  have  so  much  to  do 
To  bring  him  in !    Trust  me,  I  could  do  much — 

0th.  Prithee,  no  more:   let  him  come  when  he  will; 
I  will  deny  thee  nothing. 

Dcs.  Why,  this  is  not  a  boon ; 

'Tis  as  I  should  entreat  you  wear  your  gloves, 
Or  feed  on  nourishing  dishes,  or  keep  you  warm, 
Or  sue  to  you  to  do  a  peculiar  profit 
To  your  own  person :   nay,  when  I  have  a  suit        80 
Wherein  I  mean  to  touch  your  love  indeed, 
It  shall  be  full  of  poise  and  difficult  weight, 
And  fearful  to  be  granted. 

0th.  I  will  deny  thee  nothing: 

Whereon,  I  do  beseech  thee,  grant  me  this. 
To  leave  me  but  a  little  to  myself. 

Des.  Shall  I  deny  you?  no:   farewell,  my  lord. 

81 


Act  III.  Sc.  iii.  TRAGEDY  OF  OTHELLO, 

Oth.  Farewell,  my  Desdemona  :  I  '11  come  to  thee  straight. 
Dcs.  Emilia,  come.    Be  as  your  fancies  teach  you; 

Whate'er  you  be,  I  am  obedient. 

[Exeunt  Desdemona  and  Emilia. 
Oth.  Excellent  wretch!     Perdition  catch  my  soul,        90 

But  I  do  love  thee!   and  when  I  love  thee  not, 

Chaos  is  come  again. 
lago.  My  noble  lord, — 

Oth.  What  dost  thou  say,  lago? 

lago.  Did  Michael  Cassio,  when  you  woo'd  my  lady, 

Know  of  your  love? 
Oth.  He  did,  from  first  to  last:   why  dost  thou  ask? 
lago.  But  for  a  satisfaction  of  my  thought; 

No  further  harm. 
Oth.  Why  of  thy  thought,  lago? 

lago.  I  did  not  think  he  had  been  acquainted  with  her. 
Oth.  O,  yes,  and  went  between  us  very  oft.  lOO 

lago.  Indeed! 
Oth.  Indeed!   ay,  indeed:   discern'st  thou  aught  in  that? 

Is  he  not  honest? 
lago.  Honest,  my  lord! 
Oth.  Honest!   ay,  honest. 
lago.  My  lord,  for  aught  I  know. 
Oth.  What  dost  thou  think? 
lago.  Think,  my  lord! 
Oth.  Think,  my  lord!     By  heaven,  he  echoes  me. 

As  if  there  were  some  monster  in  his  thought 

Too  hideous  to  be  shown.     Thou  dost  mean  some- 
thing: 

I  heard  thee  say  even  now,  thou  likedst  not  that. 

When  Cassio  left  my  wife:  what  didst  not  like?    no 

And  when  I  told  thee  he  was  of  my  counsel 

82 


THE  MOOR  OF  VENICE  Act  III.  Sc.  iii. 

In  my  whole  course  of  wooing,  thou  criedst  '  Indeed  ! ' 
And  didst  contract  and  purse  thy  brow  together, 
As  if  thou  then  hadst  shut  up  in  thy  brain 
Some  horrible  conceit:   if  thou  dost  love  me, 
Show  me  thy  thought. 

lago.  My  lord,  you  know  I  love  you. 

0th.  I  think  thou  dost; 

And  for  I  know  thou  Vt  full  of  love  and  honesty 
And  weigh'st  thy  words  before  thou  givest  them 

breath. 
Therefore  these  stops  of  thine  fright  me  the  more: 
For  such  things  in  a  false  disloyal  knave  121 

Are  tricks  of  custom;  but  in  a  man  that 's  just 
They  're  close  delations,  working  from  the  heart. 
That  passion  cannot  rule. 

Jcigo.  For  Michael  Cassio, 

I  dare  be  sworn  I  think  that  he  is  honest. 

0th.  I  think  so  too. 

lago.  Men  should  be  what  they  seem; 

Or  those  that  be  not,  would  they  might  seem  none! 

0th.  Certain,  men  should  be  what  they  seem. 

lago.  Why  then  I  think  Cassio  's  an  honest  man. 

0th.  Nay,  yet  there  's  more  in  this:  130 

I  prithee,  speak  to  me  as  to  thy  thinkings, 
As  thou  dost  ruminate,  and  give  thy  worst  of  thoughts 
The  worst  of  words. 

lago.  Good  my  lord,  pardon  me: 

Though  I  am  bound  to  every  act  of  duty, 
I  am  not  bound  to  that  all  slaves  are  free  to. 
Utter  my  thoughts  ?    Why,  say  they  are  vile  and  false  ; 
And  where  's  that  palace  whereinto  foul  things 
Sometimes  intrude  not?  who  has  a  breast  so  pure 

83 


Act  III.  Sc.  iii.  TRAGEDY  OF  OTHELLO. 

But  some  uncleanly  apprehensions 

Keep  leets  and  law-days,  and  in  session  sit  140 

With  meditations  lawful? 

Ofh.  Thou  dost  conspire  against  thy  friend,  lago, 

If  thou  but  think'st  him  wrong'd  and  makest  his  ear 
A  stranger  to  thy  thoughts. 

lago.  I  do  beeseech  you — 

Though  I  perchance  am  vicious  in  my  guess, 
As,  I  confess,  it  is  my  nature's  plague 
To  spy  into  abuses,  and  oft  my  jealousy 
Shapes  faults  that  are  not — that  your  wisdom  yet, 
From  one  that  so  imperfectly  conceits, 
Would  take  no  notice,  nor  build  yourself  a  trouble 
Out  of  his  scattering  and  unsure  observance.     151 
It  were  not  for  your  quiet  nor  your  good, 
Nor  for  my  manhood,  honesty,  or  wisdom. 
To  let  you  know  my  thoughts. 

0th.  What  dost  thou  mean? 

lago.  Good  name  in  man  and  woman,  dear  my  lord. 
Is  the  immediate  jewel  of  their  souls: 
Who  steals  my  purse  steals  trash;    'tis  something, 

nothing; 
Twas  mine,  'tis  his,  and  has  been  slave  to  thousands  ; 
But  he  that  filches  from  me  my  good  name 
Robs  me  of  that  which  not  enriches  him  160 

And  makes  me  poor  indeed. 

0th.  By  heaven,  I  '11  know  thy  thoughts. 

lago.  You  cannot,  if  my  heart  were  in  your  hand; 
Nor  shall  not,  whilst  'tis  in  my  custody. 

0th.  Ha! 

lago.  O,  beware,  my  lord,  of  jealousy; 

It  is  the  green-eyed  monster,  which  doth  mock 

84 


THE  MOOR  OF  VENICE  Act  III.  Sc.  iii. 

The  meat  it  feeds  on:  that  cuckold  lives  in  bliss 
Who,  certain  of  his  fate,  loves  not  his  wronger; 
But,  O,  what  damned  minutes  tells  he  o'er 
Who  dotes,  yet  doubts,  suspects,  yet  strongly  loves ! 

0th.  O  misery!  171 

lago.  Poor  and  content  is  rich,  and  rich  enough; 
But  riches  fineless  is  as  poor  as  winter 
To  him  that  ever  fears  he  shall  be  poor : 
Good  heaven,  the  souls  of  all  my  tribe  defend 
From  jealousy! 

Ofh.  Why,  why  is  this! 

Think'st  thou  I  'Id  make  a  life  of  jealousy, 
To  follow  still  the  changes  of  the  moon 
With  fresh  suspicions?    No;   to  be  once  in  doubt 
Is  once  to  be  resolved:  exchange  me  for  a  goat,   180 
When  I  shall  turn  the  business  of  my  soul 
To  such  exsuiflicate  and  blown  surmises, 
Matching  thy  inference.  'Tis  not  to  make  me  jealous 
To  say  my  wife  is  fair,  feeds  well,  loves  company, 
Is  free  of  speech,  sings,  plays  and  dances  well ; 
Where  virtue  is,  these  are  more  virtuous: 
Nor  from  mine  own  weak  merits  will  I  draw 
The  smallest  fear  or  doubt  of  her  revolt; 
For  she  had  eyes,  and  chose  me.     No,  lago; 
I'll  see  before  I  doubt;    when  I  doubt,  prove;  190 
And  on  the  proof,  there  is  no  more  but  this, 
Away  at  once  with  love  or  jealousy! 

lago.  I  am  glad  of  it;  for  now  I  shall  have  reason 
To  show  the  love  and  duty  that  I  bear  you 
With  franker  spirit:    therefore,  as  I  am  bound, 
Receive  it  from  me.    I  speak  not  yet  of  proof. 
Look  to  your  wife:  observe  her  well  with  Cassio; 

85 


Act  III.  Sc.  iii.  TRAGEDY  OF  OTHELLO. 

Wear  your  eye  thus,  not  jealous  nor  secure: 
I  would  not  have  your  free  and  noble  nature 
Out  of  self-bounty  be  abused;   look  to  't:  200 

I  know  our  country  disposition  well; 
In  Venice  they  do  let  heaven  see  the  pranks 
They  dare  not  show  their  husbands;   their  best  con- 
science 
Is  not  to  leave  't  undone,  but  keep  't  unknown. 

0th.  Dost  thou  say  so? 

I  ago:  She  did  deceive  her  father,  marrying  you ; 

And  when  she  seem'd  to  shake  and  fear  your  looks, 
She  loved  them  most. 

0th.  And  so  she  did. 

I  ago.  Why,  go  to  then; 

She  that  so  young  could  give  out  such  a  seeming. 
To  seel  her  father's  eyes  up  close  as  oak —  210 

He  thought   'twas  witchcraft — but  I   am   much  to 

blame; 
I  humbly  do  beseech  you  of  your  pardon 
For  too  much  loving  you. 

0th.  I  am  bound  to  thee  for  ever. 

lago.  I  see  this  hath  a  little  dash'd  your  spirits. 

0th.  Not  a  jot,  not  a  jot.  ^ 

lago.  V  faith,  I  fear  it  has. 

I  hope  you  will  consider  what  is  spoke 
Comes  from  my  love;   but  I  do  see  you're  moved: 
I  am  to  pray  you  not  to  strain  my  speech 
To  grosser  issues  nor  to  larger  reach 
Than  to  suspicion.  220 

0th.  I  will  not. 

lago.  Should  you  do  so,  my  lord, 

My  speech  should  fall  into  such  vile  success 
As  my  thoughts  aim  not  at.     Cassio  's  my  worthy 
friend — 

86 


THE  MOOR  OF  VENICE  Act  III.  Sc.  iii. 

My  lord,  I  see  you  're  moved. 

Oih.  No,  not  much  moved: 

I  do  not  think  but  Desdemona  's  honest. 

lago.  Long  Hve  she  so!  and  long  live  you  to  think  so! 

0th.  And  yet,  how  nature  erring  from  itself — 

lago.  Ay,  there  's  the  point :    as — to  be  bold  with  you — 
Not  to  effect  many  proposed  matches 
Of  her  own  clime,  complexion  and  degree,  230 

Whereto  we  see  in  all  things  nature  tends — 
Foh!    one  may  smell  in  such  a  will  most  rank, 
Foul  disproportion,  thoughts  unnatural. 
But  pardon  me:   I  do  not  in  position 
Distinctly  speak  of  her;   though  I  may  fear 
Her  will,  recoiling  to  her  better  judgement. 
May  fall  to  match  you  with  her  country  forms, 
And  happily  repent, 

0th.  Farewell,  farewell: 

If  more  thou  dost  perceive,  let  me  know  more ; 

Set  on  thy  wife  to  observe:    leave  me,  lago.       240 

lago.    [Going]  My  lord,  I  take  my  leave. 

0th.  Why  did  I  marry?    This  honest  creature  doubtles^ 
Sees  and  knows  more,  much  more,  than  he  unfolds. 

lago.    [Returning]  My  lord,  I  would  I  might  entreat  your 
honour 
To  scan  this  thing  no  further;    leave  it  to  time: 
Though  it  be  fit  that  Cassio  have  his  place. 
For  sure  he  fills  it  up  with  great  ability, 
Yet,  if  you  please  to  hold  him  ofif  awhile, 
You  shall  by  that  perceive  him  and  his  means: 
Note  if  your  lady  strain  his  entertainment  250 

With  any  strong  or  vehement  importunity; 
Much  will  be  seen  in  that.    In  the  mean  time, 

87 


Act  III.  Sc.  iii.  TRAGEDY  OF  OTHELLO. 

Let  me  be  thought  too  busy  in  my  fears — 
As  worthy  cause  I  have  to  fear  I  am — 
And  hold  her  free,  I  do  beseech  your  honour. 

0th.  Fear  not  my  government. 

lago.  I  once  more  take  my  leave.  [Exit. 

0th.  This  fellow  's  of  exceeding  honesty, 

And  knows  all  qualities,  with  a  learned  spirit. 
Of  human  dealings.     If  I  do  prove  her  haggard,  260 
Though  that  her  jesses  were  my  dear  heart-strings, 
I  'Id  whistle  her  ofif  and  let  her  down  the  wind 
To  prey  at  fortune.    Haply,  for  I  am  black 
And  have  not  those  soft  parts  of  conversation 
That  chamberers  have,  or  for  I  am  declined 
Into  the  vale  of  years, — yet  that 's  not  much — 
She  's  gone;   I  am  abused,  and  my  relief 
Must  be  to  loathe  her.    O  curse  of  marriage, 
That  we  can  call  these  delicate  creatures  ours. 
And  not  their  appetites!     I  had  rather  be  a  toad. 
And  live  upon  the  vapour  of  a  dungeon,  271 

Than  keep  a  corner  in  the  thing  I  love 
For  others'  uses.    Yet,  'tis  the  plague  of  great  ones; 
Prerogatived  are  they  less  than  the  base; 
'Tis  destiny  unshunnable,  like  death: 
Even  then  this  forked  plague  is  fated  to  us 
When  we  do  quicken.     Desdemona  comes: 

Re-enter  Desdemona  and  Emilia. 

If  she  be  false,  O,  then  heaven  mocks  itself! 
I  '11  not  believe  't. 
Des.  How  now,  my  dear  Othello! 

Your  dinner,  and  the  generous  islanders  280 

By  you  invited,  do  attend  your  presence. 


THE  MOOR  OF  VENICE  Act  III.  Sc.  iii. 

0th.  I  am  to  blame. 

Dcs.  Why  do  you  speak  so  faintly? 

Are  you  not  well? 

0th.  I  have  a  pain  upon  my  forehead  here. 

Dcs.  Faith,  that 's  with  watching;   'twill  away  again: 
Let  me  but  bind  it  hard,  within  this  hour 
It  will  be  well. 

0th.  Your  napkin  is  too  little; 

[He  puts  the  handkerchief  from  him;  and  she  drops  it. 
Let  it  alone.     Come,  I  '11  go  in  with  you. 

Dcs.  I  am  very  sorry  that  you  are  not  well. 

{Exeunt  Othello  and  Dcsdemona. 

Emil.  I  am  glad  I  have  found  this  napkin:  290 

This  was  her  first  remembrance  from  the  Moor: 
My  wayward  husband  hath  a  hundred  times 
Woo'd  me  to  steal  it;  but  she  so  loves  the  token, 
For  he  conjured  her  she  should  ever  keep  it, 
That  she  reserves  it  evermore  about  her 
To  kiss  and  talk  to.    I  '11  have  the  work  ta'en  out, 
And  give  't  lago :   what  he  will  do  with  it 
Heaven  knows,  not  I; 
I  nothing  but  to  please  his  fantasy. 

Re-enter  Ias:o. 


lago.  How  now!   what  do  you  here  alone?  300 

Emil.  Do  not  you  chide;   I  have  a  thing  for  you. 

lago.  A  thing  for  me?  it  is  a  common  thing — 

Emil.  Ha! 

lago.  To  have  a  foolish  wife. 

Emil.  O,  is  that  all?    What  will  you  give  me  now 

For  that  same  handkerchief? 
lago.  What  handkerchief? 

89 


Act  III.  Sc.  iii.  TRAGEDY  OF  OTHELLO, 

Einil.  What  handkerchief! 

Why,  that  the  Moor  nrst  gave  to  Desdemona; 
That  which  so  often  you  did  bid  me  steal. 

I  ago.  Hast  stol'n  it  from  her?  310 

Emii.  No,  faith;   she  let  it  drop  by  negligence, 

And,  to  the  advantage,  I  being  here  took  't  up. 
Look,  here  it  is. 

I  ago.  A  good  wench;   give  it  me. 

Emil.  What  will  you  do  with  't,  that  you  have  been  so 
earnest 
To  have  me  filch  it? 

lago.  [Snatching  it]   Why,  wliat  's  that  to  you? 

Emil.  If  't  be  not  for  some  purpose  of  import, 
Give  't  me  again  :   poor  lady,  she  '11  run  mad 
When  she  shall  lack  it. 

lago.  Be  not  acknown  on  't;    I  have  use  for  it. 

Go,  leave  me.  [Exit  Emilia.  320 

I  will  in  Cassio's  lodging  lose  this  napkin, 

And  let  him  find  it.    Trifles  light  as  air 

Are  to  the  jealous  confirmations  strong' 

As  proofs  of  holy  writ :   this  may  do  something. 

The  Moor  already  changes  with  my  poison: 

Dangerous  conceits  are  in  their  natures  poisons, 

Which  at  the  first  are  scarce  found  to  distaste, 

But  with  a  little  act  upon  the  blood 

Burn  like  the  mines  of  sulphur.    I  did  say  so : 

Look,  where  he  comes ! 

Re-enter  Othello. 

Not  poppy,  nor  mandragora,  330 
Nor  all  the  drowsy  syrups  of  the  world, 
Shall  ever  medicine  thee  to  that  sweet  sleep 
90 


I 


THE  MOOR  OF  VENICE  Act  III.  Sc.  iii. 

Which  thou  owedst  yesterday. 

0th.  Ha!  ha!  false  to  me? 

I  ago.  Why,  how  now,  general!   no  more  of  that. 

0th.  Avaimt!   be  gone!   thou  hast  set  me  on  the  rack: 
I  swear  'tis  better  to  be  much  abused 
Than  but  to  know  't  a  little. 

J  ago.  How  now,  my  lord! 

0th.  What  sense  had  I  of  her  stol'n  hours  of  lust? 
I  saw  't  not,  thought  it  not,  it  harm'd  not  me: 
I  slept  the  next  night  well,  was  free  and  merry;   340 
I  found  not  Cassio's  kisses  on  her  lips: 
He  that  is  robb'd,  not  wanting  what  is  stol'n. 
Let  him  not  know  't  and  he  's  not  robbed  at  all. 

lago.  I  am  sorry  to  hear  this. 

0th.  I  had  been  happy,  if  the  general  camp, 

Pioners  and  all,  had  tasted  her  sweet  body, 
So  I  had  nothing  known.    O,  now  for  ever 
Farewell  the  tranquil  mind!    farewell  content! 
Farewell  the  plumed  troop  and  the  big  wars 
That  make  ambition  virtue!     O,  farewell,  350 

Farewell  the  neighing  steed  and  the  shrill  trump. 
The  spirit-stirring  drum,  the  ear-piercing  fife, 
The  royal  banner  and  all  quality. 
Pride,  pomp  and  circumstance  of  glorious  war! 
And,  O  you  mortal  engines,  whose  rude  throats 
The  immortal  Jove's  dread  clamours  counterfeit, 
Farewell!    Othello's  occupation's  gone! 

Tago.  Is  't  possible,  my  lord? 

0th.  Villain;  be  sure  thou  prove  my  love  a  whore; 

Be  sure  of  it;   give  me  the  ocular  proof;  360 

Or,  by  the  worth  of  man's  eternal  soul. 
Thou  hadst  been  better  have  been  born  a  dog 

91 


Act  III.  Sc.  iii.  TRAGEDY  OF  OTHELLO. 

Than  answer  my  waked  wrath! 
I  ago.  Is  't  come  to  this? 

0th.  Make  me  to  see  't;  or  at  the  least  so  prove  it, 

That  the  probation  bear  no  hinge  nor  loop 

To  hang  a  doubt  on;   or  woe  upon  thy  life! 
lago.  My  noble  lord, — 
0th.  If  thou  dost  slander  her  and  torture  me, 

Never  pray  more;   abandon  all  remorse; 

On  horror's  head  horrors  accumulate;  370 

Do  deeds  to  make  heaven  weep,  all  earth  amazed; 

For  nothing  canst  thou  to  damnation  add 

Greater  than  that. 
lago.  O  grace!    O  heaven  defend  me! 

Are  you  a  man?  have  you  a  soul  or  sense? 

God  be  wi'  you;    take  mine    office.     O    wretched 
fool, 

That  livest  to  make  thine  honesty  a  vice! 

0  monstrous  world!    Take  note,  take  note,  O  world, 
To  be  direct  and  honest  is  not  safe, 

1  thank  you  for  this  profit,  and  from  hence 

I  '11  love  no  friend  sith  love  breeds  such  offence.   380 

0th.  Nay,  stay:   thou  shouldst  be  honest. 

lago.  I  should  be  wise;   for  honesty  's  a  fool. 
And  loses  that  it  works  for. 

0th.  By  the  world, 

I  think  my  wife  be  honest,  and  think  she  is  not; 
I  think  that  thou  art  just,  and  think  thou  art  not: 
I  '11  have  some  proof.    Her  name,  that  was  as  fresh 
As  Dian's  visage,  is  now  begrimed  and  black 
As  mine  own  face.    If  there  be  cords,  or  knives, 
Poison,  or  fire,  or  suffocating  streams, 
I  '11  not  endure  it.    Would  I  were  satisfied!  390 

92 


THE  MOOR  OF  VENICE  Act  III.  Sc.  iii. 

lago.  I  see,  sir,  you  are  eaten  up  with  passion: 
I  do  repent  me  that  I  put  it  to  you. 
You  would  be  satisfied? 

0th.  Would!   nay,  I  will. 

lago.  And  may:  but,  how?  how  satisfied,  my  lord? 
Would  you,  the  supervisor,  grossly  gape  on? 
Behold  her  topp'd? 

0th.  Death  and  damnation!   O! 

lago.  It  were  a  tedious  difficulty,  I  think. 

To  bring  them  to  that  prospect :   damn  them  then. 

If  CA^er  mortal  eyes  do  see  them  bolster 

i\Iore  than  their  own!    What  then?  how  then?    400 

Wliat  shall  I  say?    Where  's  satisfaction? 

It  is  impossible  you  should  see  this, 

Were  they  as  prime  as  goats,  as  hot  as  monkeys, 

As  salt  as  wolves  in  pride,  and  fools  as  gross 

As  ignorance  made  drunk.    But  yet,  I  say, 

If  imputation  and  strong  circumstances, 

Wliich  lead  directly  to  the  door  of  truth, 

Will  give  you  satisfaction,  you  may  have  't. 

0th.  Give  me  a  living  reason  she  's  disloyal. 

lago.  I  do  not  like  the  office:  410 

But  sith  I  am  enter'd  in  this  cause  so  far, 
Prick'd  to  't  by  foolish  honesty  and  love, 
I  will  go  on.    I  lay  with  Cassio  lately, 
And  being  troubled  with  a  raging  tooth, 
I  could  not  sleep. 

There  are  a  kind  of  men  so  loose  of  soul, 
That  in  their  sleeps  will  mutter  their  afifairs: 
One  of  this  kind  is  Cassio: 
In  sleep  I  heard  him  say  '  Sweet  Desdemona, 
Let  us  be  wary,  let  us  hide  our  loves';  420 

93 


Act  III.  Sc.  iii.  TRAGEDY  OF  OTHELLO, 

And    then,    sir,    would    he    gripe    and    wring    my 
hand, 

Cry  '  O  sweet  creature!  '  and  then  kiss  me  hard, 

As  if  he  pluck'd  up  kisses  by  the  roots, 

That  grew  upon  my  Hps :  then  laid  his  leg 

Over  my  thigh,  and  sigh'd  and  kiss'd,  and  then 

Cried  *  Cursed  fate  that  gave  thee  to  the  Moor!*' 
OiJi.  O  monstrous!    monstrous! 

lago.  Nay,  this  was  but  his  dream. 

0th.  But  this  denoted  a  foregone  conclusion: 

Tis  a  shrewd  doubt,  though  it  be  but  a  dream. 
lago.  And  this  may  help  to  thicken  other  proofs  430 

That  do  demonstrate  thinly. 
0th.  I  '11  tear  her  all  to  pieces. 

lago.  Nay,  but  be  wise :   yet  we  see  nothing  done ; 

She  may  be  honest  yet.    Tell  me  but  this ; 

Have  you  not  sometimes  seen  a  handkerchief 

Spotted  with  strawberries  in  your  wife's  hand: 
0th.  I  gave  her  such  a  one;   'twas  my  first  gift. 
lago.  I  know  not  that :   but  such  a  handkerchief — 

I  am  sure  it  was  your  wife's — did  I  to-day 

See  Cassio  wipe  his  beard  with. 
0th.  If  it  be  that,— 

lago.  If  it  be  that,  or  any  that  was  hers,  440 

It  speaks  against  her  with  the  other  proofs. 
0th.  O,  that  the  slave  had  forty  thousand  lives! 

One  is  too  poor,  too  weak  for  my  revenge. 

[|Now  do  I  see  'tis  true.    Look  here,  lago; 
.  All  my  fond  love  thus  do  I  blow  to  heaven : 

'Tis  gone. 

Arise,  black  vengeance,  from  thy  hollow  cell! 

Yield  up,  O  love,  thy  crown  and  hearted  throne 

94 


y , 


THE  MOOR  OF  VENICE  Act  III.  Sc.  iii. 

To  tyrannous  hate!    Swell,  bosom,  with  thy  fraught, 
For  'tis  of  aspics'  tongues! 

lago.  Yet  be  content.  450 

0th.  O,  blood,  blood,  blood! 

I  ago.  Patience,  I  say;  your  mind  perhaps  may  change. 

0th.  Never,  lago.    Like  to  the  Pontic  sea. 

Whose  icy  current  and  compulsive  course 
Ne'er  feels  retiring  ebb,  but  keeps  due  on 
To  the  Propontic  and  the  Hellespont; 
Even  so  my  bloody  thoughts,  with  violent  pace, 
Shall  ne'er  look  back,  ne'er  ebb  to  humble  love. 
Till  that  a  capable  and  wide  revenge  459 

Swallow  them  up.    Now,  by  yond  marble  heaven, 
In  the  due  reverence  of  a  sacred  vow  [Kneels. 

I  here  engage  my  words. 

Jdgo.  Do  not  rise  yet.       [Kneels. 

Witness,  you  ever-burning  lights  above, 
You  elements  that  clip  us  round  about. 
Witness  that  here  lago  doth  give  up 
The  execution  of  his  wit,  hands,  heart. 
To  wrong'd  Othello's  service!    Let  him  command. 
And  to  obey  shall  be  in  me  remorse, 
What  bloody  business  ever.  [They  rise. 

0th.  I  greet  thy  love, 

Not  with  vain  thanks,  but  with  acceptance  bounteous, 
And  will  upon  the  instant  put  thee  to  't:  471 

Within  these  three  days  let  me  hear  thee  say 
That  Cassio  's  not  alive. 

lago.  My  friend  is  dead;   'tis  done  at  your  request: 
But  let  her  live. 

OtJi.  Danm  her,  lewd  minx!     O,  damn  her! 

Come,  go  with  me  apart;   I  will  withdraw, 

95 


Act  III.  Sc.  iv.  TRAGEDY  OF  OTHELLO. 

To  furnish  me  with  some  swift  means  of  death 
For  the  fair  devil.     Now  art  thou  my  Heutenant. 
lago.  I  am  your  own  for  ever.  {Exeunt. 

Scene  IV. 

Before  the  castle. 
Enter  Desdemona,  EiiiiJia,  and  Cloivn. 

Des.  Do  you  know,    sirrah,    where    Lieutenant    Cassio 

Hes? 
Clo.  I  dare  not  say  he  Hes  any  where. 
Des.  Why,  man? 
Clo.  He  's  a  soldier;  and  for  one  to  say  a  soldier  lies, 

is  stabbing. 
Des.  Go  to:   where  lodges  he? 
Clo.  To  tell  vou  where  he  lodges,  is  to  tell  vou  where 

I  He. 
Des.  Can  any  thing  be  made  of  this?  lo 

Clo.  I  know  not  where  he  lodges;    and  for  me    to 

devise  a  lodging,  and  say  he  lies  here  or  he  lies 

there,  were  to  lie  in  mine  own  throat. 
Des.  Can  you  inquire  him   out  and   be   edified  by 

report? 
Clo.  I  will  catechize  the  world  for  him;  that  is,  make 

questions  and  by  them  answer. 
Des.  Seek  him,  bid  him  come  hither:  tell  him  I  have 

moved  my  lord  on  his  behalf  and  hope  all  will 

be  well.  20 

Clo.  To  do  this  is  within  the  compass  of  man's  wit, 

and  therefore  I  will  attempt  the  doing  it.  [Exit. 

Des.  Where  should  1  lose  that  handkerchief,  Emilia? 
Emil.  I  know  not.  madam. 
Des.  Believe  me,  I  had  rather  have  lost  my  purse 

96 


THE  MOOR  OF  VENICE  Act  III.  Sc.  iv. 

Full  of  crusadoes :   and,  but  my  noble  Moor 
Is  true  of  mind  and  made  of  no  such  baseness 
As  jealous  creatures  are,  it  were  enough 
To  put  him  to  ill  thinking. 

Emil.  Is  he  not  jealous? 

Dcs.  Who,  he?    I  think  the  sun  where  he  was  born      30 
Drew  all  such  humours  from  him. 

Einil.  ,  Look,  where  he  comes. 

Dcs.  I  will  not  leave  him  now  till  Cassio 
Be  call'd  to  him. 

Enter  Othello. 

How  is  't  with  you,  my  lord? 
0th.  Well,  my  good  lady.    [Aside]   O,  hardness  to  dis- 
semble! 

How  do  you,  Desdemona? 
Des.  Well,  my  good  lord. 

0th.  Give  me  your  hand :  this  hand  is  moist,  my  lady. 
Dcs.  It  yet  has  felt  no  age  nor  known  no  sorrow. 
0th.  This  argues  fruitfulness  and  liberal  heart: 

Hot,  hot,  and  moist:   this  hand  of  yours  requires 

A  sequester  from  liberty,  fasting  and  prayer,  40 

Much  castigation,  exercise  devout; 

For  here  's  a  young  and  sweating  devil  here, 

That  commonly  rebels.     'Tis  a  good  hand, 

A  frank  one. 
Dcs.  You  may,  indeed,  say  so; 

For  'twas  that  hand  that  gave  away  my  heart. 
0th.  A  liberal  hand:   the  hearts  of  old  gave  hands; 

But  our  new  heraldry  is  hands,  not  hearts. 
Dcs.  T  cannot  speak  of  this.    Come  now,  your  promise. 
0th.  What  promise,  chuck? 

97 


Act  III.  Sc.  iv.  TRAGEDY  OF  OTHELLO. 

Dcs.  I  have  sent  to  bid  Cassio  come  speak  with  you.     50 
0th.  I  have  a  salt  and  sorry  rheum  offends  me; 

Lend  me  thy  handkerchief. 
Dcs.  Here,  my  lord. 
0th.  That  which  I  gave  you. 
Dcs.  I  have  it  not  about  me. 
0th.  Not? 

Dcs.  No,  indeed,  my  lord. 
0th.  That 's  a  fault.     That  handkerchief 
\    Did  an  Egyptian  to  my  mother  give; 
\  She  was  a  charmer,  and  could  almost  read 

The  thoughts  of  people:    she  told  her,  while    she 
kept  it 

'Twould  make  her  amiable  and  subdue  my  father 

Entirely  to  her  love,  but  if  she  lost  it  60 

i  /  Or  made  a  gift  of  it,  my  father's  eye 
^    Should  hold  her  loathed  and  his  spirits  should  hunt 

After  new  fancies:    she  dying  gave  it  me, 

And  bid  me,  when  my  fate  would  have  me  wife, 

To  give  it  her.    I  did  so:   and  take  heed  on  't; 

Make  it  a  darling  like  your  precious  eye; 

To  lose  't  or  give  't  away  were  such  perdition 

As  nothing  else  could  match. 
Des.  Is  't  possible? 

0th.  'Tis  true:  there  's  magic  in  a  web  of  it: 

A  sibyl,  that  had  number'd  in  the  world  70 

The  sun  to  course  two  hundred  compasses, 

In  her  prophetic  fury  sew'd  the  work; 

The  worms  were  hallow'd  that  did  breed  the  silk; 

And  it  was  dyed  in  mummy  which  the  skilful 

Conserved  of  maidens'  hearts. 
Des.  Indeed,  is  't  true? 

98 


THE  MOOR  OF  VENICE  Act  III.  Sc.  iv. 

Oth.  Most  veritable;   therefore  look  to 't  well. 

Dcs.  Then  v/ould  to  God  that  I  had  never  seen  't! 

Oth.  Ha!   wherefore? 

Dcs.  Why  do  you  speak  so  startingly  and  rash? 

Oth.  Is  't  lost?  is  't  gone?  speak,  is  it  out  o'  the  way?  80 

Dcs.  Heaven  bless  us! 

Ofh.  Say  you? 

Dcs.  It  is  not  lost ;   but  what  an  if  it  were  ? 

Oth.  How! 

Dcs.  I  say,  it  is  not  lost. 

Oth.  Fetch  't,  let  me  see  it. 

Dcs.  Why,  so  I  can,  sir,  but  I  will  not  now. 

This  is  a  trick  to  put  me  from  my  suit : 

Pray  you,  let  Cassio  be  received  again. 
Oth.  Fetch  me  the  handkerchief:   my  mind  misgives)^ 
Dcs.  Come,  come;  \    90 

You  '11  never  meet  a  more  sufficient  man. 
Oth.  The  handkerchief! 

Dcs.  I  pray,  talk  me  of  Cassio. 

Oth.  The  handkerchief! 
Dcs.  A  man  that  all  his  time 

Hath  founded  his  good  fortunes  on  your  love^ 

Shared  dangers  with  you, —  /-^ 

Oth.  The  handkerchief! 
Dcs.  In  sooth,  you  are  to  blame. 
Ofh.  Away!  ^  [Exit. 

Emil.  Is  not  this  man  jealous? 
Dcs.  I  ne'er  saw  this  before.  100 

Sure  there  's  some  wonder  in  this  handkerchief: 

I  am  most  unhappy  in  the  loss  of  it. 
Emil.  'Tis  not  a  year  or  two  shows  us  a  man : 

They  are  all  but  stomachs  and  we  all  but  food; 

99 


Act  III.  Sc.  iv.  TRAGEDY  OF  OTHELLO. 

They  eat  us  hungerly,  and  when  they  are  full 

They  belch  us.     Look  you,  Cassio  and  my  husband. 

Enter  Cassio  and  I  ago. 

logo.  There  is  no  other  way;   'tis  she  must  do  't: 
And,  lo,  the  happiness!   go  and  importune  her. 

Dcs.  How  now,  good  Cassio!  what 's  the  news  with  you? 

Cas.  Madam,  my  former  suit:   I  do  beseech  you  no 

That  by  your  virtuous  means  I  may  again 
Exist,  and  be  a  member  of  his  love 
Whom  I  with  all  the  office  of  my  heart 
Entirely  honour:   I  would  not  be  delayed. 
If  my  ofifence  be  of  such  mortal  kind. 
That  nor  my  service  past  nor  present  sorrows 
Nor  purposed  merit  in  futurity 
Can  ransom  me  into  his  love  again, 
But  to  know  so  must  be  my  benefit; 
So  shall  I  clothe  me  in  a  forced  content  120 

And  shut  myself  up  in  some  other  course 
To  fortune's  alms. 

Dcs.  Alas,  thrice-gentle  Cassio! 

My  advocation  is  not  now  in  tune; 
My  lord  is  not  my  lord,  nor  should  I  know  him 
Were  he  in  favour  as  in  humour  alter'd. 
So  help  me  every  spirit  sanctified, 
As  I  have  spoken  for  you  all  my  best 
And  stood  within  the  blank  of  his  displeasure 
For  my  free  speech!    You  must  awhile  be  patient: 
What  I  can  do  I  wall;  and  more  I  will  130 

Than  for  myself  I  dare :   let  that  suffice  you. 

lago.  Is  my  lord  angry? 

Emil.  He  went  hence  but  now, 

100 


THE  MOOR  OF  VENICE  Act  III.  Sc.  iv. 

And  certainly  in  strange  unquietness. 

I  ago.  Can  he  1)e  angry?    I  have  seen  the  cannon, 
When  it  hath  blown  his  ranks  into  the  air, 
And,  like  the  devil,  from  his  very  arm 
Puff'd  his  own  brother;   and  can  he  be  angry? 
Something  of  moment  then :   I  >vill  go  meet  him : 
There  's  matter  in  't  indeed  if  he  be  angry. 

Dcs.  I  prithee,  do  so.  [Exit  lago. 

Something  sure  of  state,  140 

Either  from  Venice  some  imhatch'd  practice 
Made  demonstrable  here  in  Cyprus  to  him, 
Hath  puddled  his  clear  spirit;   and  in  such  cases 
Men's  natures  wrangle  with  inferior  things, 
Though  great  ones  are  their  object.    'Tis  even  so; 
For  let  our  finger  ache,  and  it  indues 
Our  other  healthful  members  even  to  that  sense 
Of  pain:  nay,  we  must  think  men  are  not  gods, 
Nor  of  them  look  for  such  observancy 
As  fits  the  bridal.    Beshrew^  me  much,  Emilia,       150 
I  was,  unhandsome  warrior  as  I  am, 
Arraigning  his  unkindness  with  my  soul; 
But  now  I  find  I  had  suborn'd  the  witness, 
And  he  's  indicted  falsely. 

Eniii.  Pray  heaven  it  be  state-matters,  as  you  think, 
And  no  conception  nor  no  jealous  toy 
Concerning  you. 

Dcs.  Alas  the  day,  I  i;ever  gave  him  cause! 

Eniil.  But  jealous  souls  will  not  be  answer'd  so; 

They  are  not  ever  jealous  for  the  cause,  160 

But  jealous  for  they  are  jealous:   'tis  a  monster 
Begot  upoH  itself,  born  on  itself. 

Dcs.  Heaven  keep  that  monster  from  Othello's  mind! 


Act  III.  Sc.  iv.  TRAGEDY  OF  OTHELLO, 

Ernil.  Lady,  amen. 

Dcs.  I  will  go  seek  him.     Cassio,  walk  hereabout : 

If  I  do  find  him  fit,  I  '11  move  your  suit, 

And  seek  to  effect  it  to  my  uttermost. 
Cas.  I  humbly  thank  your  ladyship. 

[Exeunt  Dcsdemona  and  Emilia. 

Enter  Bianea. 

Bian.  Save  you,  friend  Cassio! 

Cas.  What  make  you  from  home? 

How  is  it  with  you,  my  most  fair  Bianea?  170 

r  faith,  sweet  love,  I  was  coming  to  your  house. 

Bian.  And  I  was  going  to  your  lodging,  Cassio. 

What,  keep  a  week  away?  seven  days  and  nights? 
Eight  score  eight  hours?   and  lovers'  absent  hours, 
More  tedious  than  the  dial  eight  score  times? 

0  weary  reckoning! 

Cas.  Pardon  me,  Bianea: 

1  have  this  while  with  leaden  thoughts  been  press'd; 
But  I  shall  in  a  more  continuate  time 

Strike  off  this  score  of  absence.    Sweet  Bianea, 

[Giving  her  Desdemonas  handkerchief. 
Take  me  this  work  out. 

Bian.  O  Cassio,  whence  came  this? 

This  is  some  token  from  a  newer  friend:  181 

To  the  felt  absence  now  I  feel  a  cause: 
Is  't  come  to  this?    Well,  well. . 

Cas.  Go  to,  woman ! 

Throw  your  vile  guesses  in  the  devil's  teeth, 
From  whence  you  have  them.    You  are  jealous  now 
That  this  is  from  some  mistress,  some  remembrance  : 
No,  by  my  faith,  Bianea. 
102 


THE  MOOR  OF  VENICE  Act  IV.  Sc.  i. 

Bian.  Why,  whose  is  it? 

Cas.  I  know  not,  sweet:   I  found  it  in  my  chamber. 

I  like  the  work  well:   ere  it  be  demanded — 

As  like  enough  it  will — I  'Id  have  it  copied:  190 

Take  it,  and  do  't;   and  leave  me  for  this  time. 
Bian.  Leave  you!   wherefore? 
Cas.  I  do  attend  here  on  the  general; 

And  think  it  no  addition,  nor  my  wish, 

To  have  him  see  me  woman'd. 
Biaii.  Why,  I  pray  you? 

Cas.  Not  that  I  love  you  not. 
Bian.  But  that  you  do  not  love  me. 

I  pray  you,  bring  me  on  the  way  a  little; 

And  say  if  I  shall  see  you  soon  at  night. 
Cas.  'Tis  but  a  little  way  that  I  can  bring  you; 

For  I  attend  heVe :  but  I  '11  see  you  soon.  200 

Bian.  'Tis  very  good;  I  must  be  circumstanced.  [Exeunt. 

ACT   FOURTH. 

Scene  I. 

Cyprus.     Before  the  castle. 

Enter  Othello  and  I  ago. 

I  ago.  Will  you  think  so? 

Ofh.  Think  so,  lago! 

logo.  What, 

To  kiss  in  private  ? 
0th.  An  unauthorized  kiss. 

lago.  Or  to  be  naked  with  her  friend  in  bed 

An  hour  or  more,  not  meaning  any  harm? 
0th.  Naked  in  bed,  lago,  and  not  mean  harm! 

103 


Act  IV.  Sc.  i.  TRAGEDY  OF  OTHELLO, 

It  is  hypocrisy  against  the  devil: 

They  that  mean  virtuously  and  yet  do  so, 

The  devil  their  virtue  tempts  and  they  tempt  heaven. 

I  ago.  So  they  do  nothing,  'tis  a  venial  slip: 

But  if  I  give  my  wife  a  handkerchief —  lo 

0th.  What  then? 

Icigo.  Why,  then,  'tis  hers,  my  lord;   and  being  hers, 
She  may,  I  think,  bestow  t  on  any  man. 

0th.   She  is  protectress  of  her  honour  too: 
May  she  give  that? 

I  ago.  Her  honour  is  an  essence  that  's  not  seen; 
They  have  it  very  oft  that  have  it  not: 
But  for  the  handkerchief — 

0th.  By  heaven,  I  would  most  gladly  have  forgot  it; 

Thou  said'st — O,  it  comes  o'er  my  memory,  20 

As  doth  the  raven  o'er  the  infected  house, 
Boding  to  all — he  had  my  handkerchief. 

I  a  go.  Ay,  what  of  that? 

0th.  That  's  not  so  good  now. 

lago.  What, 

If  I  had  said  I  had  seen  him  do  you  wrong? 
Or  heard  him  say — as  knaves  be  such  abroad. 
Who  having,  by  their  own  importunate  suit. 
Or  voluntary  dotage  of  some  mistress, 
Convinced  or  supplied  them,  cannot  choose 
But  they  must  blab — 

0th.  Hath  he  said  anything? 

lago.  He  hath,  my  lord;   but  be  you  well  assured,         30 
No  more  than  he  '11  unswear. 

0th.  What  hath  he  said? 

lago.  Faith,  that  he  did — I  know  not  what  he  did. 

0th.  What,  what? 

104 


THE  MOOR  OF  VENICE  Act  IV.  Sc.  i. 

I  a  go.  Lie — 

0th.  With  her? 

I  ago.  With  her,  on  her;   what  you  will. 

0th.  Lie  with  her!  lie  on  her! — We  say  lie  on  her, 
when  they  belie  her. — Lie  with  her !  'Zounds, 
that's  fulsome!  Handkerchief — confessions — 
handkerchief! — To  confess,  and  be  hanged 
for  his  labour ;  first,  to  be  hanged,  and  then  to  40 
confess.  I  tremble  at  it.  Nature  would  not  in- 
vest herself  in  such  shadowing  passion  without 
some  instruction.  It  is  not  words  that  shakes 
me  thus.  Pish!  Noses,  ears  and  lips.  Is  't  pos- 
sible?— Confess? — Handkerchief? — O  devil! 

[Falls  ill  a  trance, 

lago.  Work  on. 

My  medicine,  work!    Thus  credulous  fools  are 

caught : 
And  many  worthy  and  chaste  dames  even  thus, 
All  guiltless,  meet  reproach.    What,  ho!   my  lord! 
My  lord,  I  say!    Othello! 

Enter  Cassia. 

How  now,  Cassio! 

Cos.  What 's  the  matter?  50 

lago.  My  lord  is  fall'n  into  an  epilepsy: 

This  is  his  second  fit;   he  had  one  yesterday. 

Cas.  Rub  him  about  the  temples. 

[ago.  No,  forbear; 

The  lethargy  must  have  his  quiet  course: 
If  not,  he  foams  at  mouth,  and  by  and  by 
Breaks  out  to  savage  madness.     Look,  he  stirs: 
Do  you  withdraw  yourself  a  little  while, 

105 


Act  IV.  Sc.  i.  TRAGEDY  OF  OTHELLO. 

He  will  recover  straight:  when  he  is  gone, 
I  would  on  great  occasion  speak  with  you. 

[Exit  Cassio. 
How  is  it,  general?  have  you  not  hurt  your  head? 

0th.  Dost  thou  mock  me? 

lago.  I  mock  you!   no,  by  heaven.  6i 

Would  you  would  bear  your  fortune  like  a  man! 

0th.  A  horned  man  's  a  monster  and  a  beast. 

lago.  There  's  many  a  beast  then  in  a  populous  city, 
And  many  a  civil  monster. 

0th.  Did  he  confess  it? 

lago.  Good  sir,  be  a  man; 

Think  every  bearded  fellow  that  's  but  yoked 

May  draw  with  you;  there  's  millions  now  alive 

That  nightly  lie  in  those  unproper  beds 

Which  they  dare  swear  peculiar:  your  case  is  better. 

O,  'tis  the  spite  of  hell,  the  fiend's  arch-mock,         yi 

To  lip  a  wanton  in  a  secure  couch, 

And  to  suppose  her  chaste!     No,  let  me  know; 

And  knowing  what  I  am,  I  know  what  she  shall  be. 

0th.  O,  thou  art  wise;   'tis  certain. 

lago.  Stand  you  awhile  apart; 

Confine  yourself  but  in  a  patient  list. 
Whilst  you  were  here  o'erwhelmed  with  your  grief — 
A  passion  most  unsuiting  such  a  man — 
Cassio  came  hither:   I  shifted  him  away. 
And  laid  good  'sense  upon  your  ecstasy;  8o 

Bade  him  anon  return  and  here  speak  with  me; 
The  which  he  promised.    Do  but  encave  yourself, 
And  mark  the  fleers,  the  gibes  and  notable  scorns 
That  dwell  in  every  region  of  his  face; 
For  I  will  make  him  tell  the  tale  anew, 
io6 


THE  MOOR  OF  VENICE  Act  IV.  Sc.  i. 

Where,  how,  how  oft,  how  long  ago  and  when 
He  hath  and  is  again  to  cope  your  wife : 
I  say,  but  mark  his  gesture.     Marry,  patience; 
Or  I  shall  say  you  are  all  in  all  in  spleen. 
And  nothing  of  a  man. 

Ofh.  Dost  thou  hear,  lago?  90 

I  will  be  found  most  cunning  in  my  patience; 
But — dost  thou  hear? — most  bloody. 

logo.  That's  not  amiss; 

But  yet  keep  time  in  all.     Will  you  withdraw  ? 

[Othello  retires. 
Now  will  I  question  Cassio  of  Bianca, 
A  housewife  that  by  selling  her  desires 
Buys  herself  bread  and  clothes:   it  is  a  creature 
That  dotes  on  Cassio;   as  'tis  the  strumpet's  plague 
To  beguile  many  and  be  beguiled  by  one. 
He,  when  he  hears  of  her,  cannot  refrain 
From  the  excess  of  laughter.    Here  he  comes.     100 

Re-enter  Cassio. 

As  he  shall  smile,  Othello  shall  go  mad; 

And  his  unbookish  jealousy  must  construe 

Poor  Cassio's  smiles,  gestures  and  light  behaviour, 

Quite  in  the  wrong.     How  do  you  now,  lieutenant? 
Cos.  The  worser  that  you  give  me  the  addition 

Whose  want  even  kills  me. 
logo.  Ply  Desdemona  well,  and  you  are  sure  on  't. 

Now,  if  this  suit  lay  in  Bianca's  power, 

How  quickly  should  you  speed! 
Cos.  Alas,  poor  caitiff! 

0th.  Look,  how  he  laughs  already!  no 

logo.  I  never  knew  a  woman  love  man  so. 

107 


Act  IV.  Sc.  i.  TRAGEDY  OF  OTHELLO. 

Cos.  Alas,    poor    rogue !     I    think,    i'    faith,    she    loves 
me. 

0th.  Xow  he  denies  it  faintly  and  laughs  it  out. 

lago.  Do  you  hear,  Cassio? 

Oth.  Xow  he  importunes  him 

To  tell  it  o'er:    go  to;   well  said,  well  said. 

lago.  She  gives  it  out  that  you  shall  marry  her: 
Do  you  intend  it? 

Cas.  Ha,  ha,  ha!  120 

Ofh.  Do  you  triumph,  Roman?   do  you  triumph? 

Cas.  I  marry  her!  what,  a  customer!  I  prithee, 
bear  some  charity  to  my  wit;  do  not  think  it  so 
unwholesome.     Ha,  ha,  ha! 

Ofh.  So,  so,  so,  so:   they  laugh  that  win. 

lago.  Faith,  the  cry  goes  that  you  shall  marry  her. 

Cos.  Prithee,  say  true. 

logo.  I  am  a  very  villain  else. 

OfJi.  Have  you  scored  me?    Well. 

Cas.  This  is  the  monkey's  own  giving  out:    she  is   130 
persuaded  I  will  marry  her,  out  of  her  own  love 
and  flattery,  not  out  of  my  promise. 

Oth.  lago  beckons  me;   now  he  begins  the  story. 

Cas.  She  was  here  even  now:  she  haunts  me  in  every 
place.  I  was  the  other  day  talking  on  the  sea- 
bank  with  certain  Venetians ;  and  thither  comes 
the  bauble,  and,  by  this  hand,  she  falls  me  thus 
about  my  neck — 

Oth.  Crying  '  O  dear  Cassio!  '  as  it  were:  his  ges- 
ture imports  it.  140 

Cas.  So  hangs  and  lolls  and  weeps  upon  me;  so 
hales  and  pulls  me:  ha,  ha,  ha! 

Ofh.  Now   he   tells   how    she    plucked    him    to    my 

108 


THE  MOOR  OF  VENICE  Act  IV.  Sc.  i. 

chamber.     O,  I  see  that  nose  of  yours,  but  not 

that  dog  I  shall  throw  it  to. 
Cas.   Well,  I  must  leave  her  company. 
lago.  Before  me  !  look,  where  she  comes. 
Cas.  'Tis  such  another  fitchew !    marry,  a  perfumed 

one. 

Enter  Bianca. 

What  do  you  mean  by  this  haunting  of  me  ?  150 

Bian.  Let  the  devil  and  his  dam  haunt  you !  What 
did  you  mean  by  that  same  handkerchief  you 
gave  me  even  now !  I  was  a  fine  fool  to  take 
it.  I  must  take  out  the  work?  A  likely  piece 
of  work,  that  you  should  find  it  in  your  chamber, 
and  not  know  who  left  it  there !  This  is  some 
minx's  token,  and  I  must  take  out  the  work? 
There ;  give  it  your  hobby-horse :  wheresoever 
you  had  it,  I  '11  take  out  no  work  on  't. 

Cas.  How  now,  my  sweet  Bianca  I    how  now!    how   160 
now ! 

Otii.   By  heaven,  that  should  be  my  handkerchief! 

Bian.  An  you  '11  come  to  supper  to-night,  you  may; 
an  you  will  not,  come  when  you  are  next  pre- 
pared for.  [Exit. 

lago.  After  her,  after  her. 

Cas.  Faith,  I  must ;  she  '11  rail  i'  the  street  else. 

lago.  Will  you  sup  there? 

Cas.  Faith,  I  intend  so. 

lago.  W^ell,  I  may  chance  to  see  you;    for  I  would   170 
very  fain  speak  with  you. 

Cas.  Prithee,  come  ;   will  you  ? 

lago.  Go  to  ;  say  no  more.  [Exit  Cassio. 

0th.    [Advancing]   How  shall  I  murder  him,  lago? 

109 


Act  IV.  Sc.  i.  TRAGEDY  OF  OTHELLO. 

lago.  Did  you  perceive  how  he  laughed  at  his  vice? 

0th.  O  lago! 

lago.  And  did  you  see  die  handkerchief? 

Otii.  Was  that  mine? 

lago.   Yours,  by  this  hand :   and  to  see  how  he  prizes 

the  fooHsh  woman  your  wife !    she  gave  it  him,   i8o 
and  he  hath  given  it  his  wdiore. 

0th.  I  would  have  him  nine  years  a-killing.  A  fine 
woman  !   a  fair  woman  !   a  sweet  woman  ! 

lago.  Nay,  you  must  forget  that. 

0th.  Ay,  let  her  rot,  and  perish,  and  be  damned  to- 
night ;  for  she  shall  not  live :  no,  my  heart  is 
turned  to  stone ;  I  strike  it,  and  it  hurts  my 
hand.  O,  the  world  hath  not  a  sweeter  crea- 
ture :  she  might  lie  by  an  emperor's  side,  and 
command  him  tasks.  190 

lago.  Nay,  that 's  not  };our  way. 

0th.  Hang  her!  I  do  but  say  what  she  is:  so  deli- 
cate with  her  needle :  an  admirable  musician : 
O,  she  will  sing  the  savageness  out  of  a  bear : 
of  so  high  and  plenteous  wit  and  invention : — 

lago.  She  's  the  worse  for  all  this. 

0th.  O,  a  thousand  thousand  times :  and  then,  of  so 
gentle  a  condition ! 

lago.  Ay,  too  gentle. 

0th.  Nay,  that 's  certain  :  but  \et  the  pity  of  it,  lago!  200 
O  lago,  the  pity  of  it,  lago ! 

lago.  If  you  are  so  fond  over  her  iniquity,  give  her 
patent  to  offend ;    for,   if  it  touch  not   you,  it 
,     comes  near  nobody. 

0  th.  I  wdll  chop  her  into  messes  :  cuckold  me ! 

lago.  O,  'tis  foul  in  her. 

no 


THE  MOOR  OF  VENICE  Act  IV.  Sc.  i. 

0th.  With  mine  officer! 

logo.  That 's  fouler. 

0th.  Get  me  some  poison,  lago  ;  this  night.     I  '11  not 

expostulate  with  her,  lest  her  body  and  beauty  210 

un provide  my  mind  again  :   this  night,  lago. 
lago.  Do  it  not  with  poison,  strangle  her  in  her  bed, 

even  the  bed  she  hath  contaminated. 
0th.  Good,  good  :  the  justice  of  it  pleases  :  very  good. 
lago.  And  for  Cassio,  let  me  be  his  undertaker :   you 

shall  hear  more  by  midnight. 
0th.  Excellent  good.      [A  trumpet  zvithin.]     What 

trumpet  is  that  same?  t 

lago.  Something  from  Venice,  sure.     'Tis  Lodovico 

Come  from  the  duke :  and,  see,  your  wife  is  with  him. 

Enter  Lodovico,  Desdemona,  and  Attendants. 

Lod.  God  save  the  worthy  general ! 

0th.  With  all  my  heart,  sir. 

Lod.  The  duke  and  senators  of  Venice  greet  you.         221 

[Gives  him  a  letter. 
0th.  I  kiss  the  instrument  of  their  pleasures. 

[Opens  the  letter,  and  reads. 
Des.  And  what 's  the  news,  good  cousin  Lodovico  ? 
lago.  I  am  very  glad  to  see  you,  signior ; 

Welcome  to  Cyprus. 
Lod.  I  thank  you.     How  does  Lieutenant  Cassio  ? 
lago.  Lives,  sir. 
Des.  Cousin,  there  's  fall'n  between  him  and  my  lord 

An  unkind  breach  :   but  you  shall  make  all  well. 
0//t.  Are  you  sure  of  that?  230 

Des.  My  lord  ? 
0th.    [Reads]   *  This  fail  you  not  to  do  as  you  will — ' 

III 


Act  JV.  Sc.  i.  TRAGEDY  OF  OTHELLO, 

Lod,  He  did  not  call ;   he  's  busy  in  the  paper. 

Is  there  division  'twixt  my  lord  and  Cassio? 
Des,  A  most  unhappy  one :   I  would  do  much 

To  atone  them,  for  the  love  I  bear  to  Cassio. 
0th,  Fire  and  brimstone ! 
Des.  My  lord? 

0th.  Are  you  wise? 

Des.  What,  is  he  angry  ? 
Lod.  May  be  the  letter  moved  him ; 

For,  as  I  think,  they  do  command  him  home, 

Deputing  Cassio  in  his  government. 
Des.  By  my  troth,  I  am  glad  on  't. 
0th.  Indeed ! 

Des.  My  lord?      240 

0th.  I  am  glad  to  see  you  mad. 
Des.  Why,  sweet  Othello? 

0th.  Devil!  [Striking  her. 

Des.  I  have  not  deserved  this. 
Lod.  My  lord,  this  would  not  be  believed  in  Venice, 

Though  I  should  swear  I  saw  't :   'tis  very  much : 

Make  her  amends ;   she  weeps. 
0th.  O  devil,  devil! 

If  that  the  earth  could  teem  with  woman's  tears, 

Each  drop  she  falls  would  prove  a  crocodile. 

Out  of  my  sight ! 
Des.  I  will  not  stay  to  offend  you.      [Going. 

Lod.  Truly,  an  obedient  lady  :  250 

I  do  beseech  your  lordship,  call  her  back. 
0th.  Mistress! 
Des.  My  lord? 

0th.  What  would  you  with  her,  sir? 
Lod.  W'ho,  I,  my  lord  ? 

112 


THE  MOOR  OF  VENICE  Act  IV.  Sc.  i. 

0th.  Ay ;   you  did  wish  that  I  would  make  her  turn  ■ 
Sir,  she  can  turn  and  turn,  and  yet  go  on, 
And  turn  again ;   and  she  can  weep,  sir,  weep ; 
And  she  's  obedient,  as  you  say,  obedient. 
Very  obedient.     Proceed  you  in  your  tears. 
Concerning  this,  sir, — O  well-painted  passion  ! — 
I  am  commanded  home.     Get  you  away  ;  260 

I  '11  send  for  you  anon.     Sir,  I  obey  the  mandate. 
And  will  return  to  Venice.     Hence,  avaunt ! 

[Exit  Dcsdcinoiia. 
Cassio  shall  have  my  place.     And,  sir,  to-night, 
I  do  entreat  that  w^e  may  sup  together : 
You  are  welcome,  sir,  to  Cyprus.     Goats  and  mon- 
keys !  "  [Exit. 

Lod.  Is  this  the  noble  Moor  whom  our  full  senate 
Call  all  in  all  sufficient  ?     This  the  nature 
Whom  passion  could  not  shake?  whose  solid  virtue 
The  shot  of  accident  nor  dart  of  chance  270 

Could  neither  graze  nor  pierce  ? 

lago.  He  is  much  changed. 

Lod.  Are  his  wits  safe  ?   is  he  not  light  of  brain  ? 

lago.  He  's  that  he  is :   I  may  not  breathe  my  censure 
What  he  might  be :  if  what  he  might  he  is  not, 
I  would  to  heaven  he  were ! 

Lod.  What,  strike  his  wife. 

lago.  Faith,  that  was  not  so  well ;  yet  would  I  knew 
That  stroke  would  prove  the  worst ! 

Lod.  Is  it  his  use? 

Or  did  the  letters  work  upon  his  blood, 
And  new  create  this  fault  ? 

lago.  Alas,  alas ! 

It  is  not  honesty  in  me  to  speak  280 

113 


Act  IV.  Sc.  ii.  TRAGEDY  OF  OTHELLO. 

What  I  have  seen  and  known.    You  shall  observe  him, 
And  his  own  courses  will  denote  him  so 
That  I  may  save  my  speech :   do  but  go  after, 
And  mark  how  he  continues. 
Lod.  I  am  sorry  that  I  am  deceived  in  him.  [Exeunt. 

Scene  IL 

A  room  in  the  castle. 
Enter  Othello  and  Emilia. 

0th.  You  have  seen  nothing,  then? 

Einil.  Nor  ever  heard,  nor  ever  did  suspect. 

0th.  Yes,  you  have  seen  Cassio  and  she  together. 

Emil.  But  then  I  saw  no  harm,  and  then  I  heard 

Each  syllable  that  breath  made  up  between  them. 

0th.  \Miat,  did  they  never  whisper? 

Emil.  Never,  my  lord. 

0th.  Nor  send  you  out  o'  the  way? 

Emil.  Never. 

0th.  To  fetch  her  fan,  her  gloves,  her  mask,  nor  nothing? 

Emil.  Never,  my  lord.  lo 

0th.  That 's  strange. 

Emil.  I  durst,  my  lord,  to  wager  she  is  honest, 

Lay  down  my  soul  at  stake :  if  you  think  other, 
Remove  your  thought ;  it  doth  abuse  your  bosom. 
If  any  wretch  have  put  this  in  your  head, 
Let  heaven  requite  it  with  the  serpent's  curse ! 
For  if  she  be  not  honest,  chaste  and  true, 
There  's  no  man  happy ;   the  purest  of  their  wives 
Is  foul  as  slander. 

0th.  Bid  her  come  hither  :   go.    [Exit  Emilia. 

She  says  enough  :   yet  she  's  a  simple  bawd  20 

114 


THE  MOOR  OF  VENICE  Act  IV.  Sc.  ii. 

That  cannot  say  as  much.     This  is  a  subtle  whore, 

A  closet  lock  and  key  of  villanous  secrets : 

And  yet  she  '11  kneel  and  pray ;   I  have  seen  her  do  't. 

Enter  Desdcnwna  zvith  Emilia. 

Des.  My  lord,  what  is  your  will  ? 

0th.  Pray,  chuck,  come  hither. 

Des,  What  is  your  pleasure? 

0th.  Let  me  see  your  eyes; 

Look  in  my  face. 
Des.  What  horrible  fancy  's  this  ? 

0th.    [To  Emilia]    Some  of  your  function,  mistress, 

Leave  procreants  alone  and  shut  the  door ; 

Cough,  or  cry  hem,  if  any  body  come : 

Your  mystery,  your  mystery :   nay,  dispatch.  30 

[Exit  Emilia, 
Des.  Upon  my  knees,  what  doth  your  speech  import? 

I  understand  a  fury  in  your  words. 

But  not  the  words. 
0th.  Why,  what  art  thou  ? 

Des.  Your  wife,  my  lord ;   your  true  and  loyal  wife. 
0th.  Come,  swear  it,  damn  thyself ; 

Lest,  being  like  one  of  heaven,  the  devils  themselves 

Should    fear    to    seize    thee :     therefore    be    double- 
damn'd ; 

Swear  thou  art  honest. 
Des.  Heaven  doth  truly  know  it. 

0th.  Heaven  truly  knows  that  thou  art  false  as  hell. 
Des.  To  whom,  my  lord  ?  with  whom  ?  how  am  I  false  ? 
0th.  O  Desdemona!     Away!   away!   away!  41 

Des.  Alas  the  heavy  day !     Why  do  you  weep  ? 

Am  I  the  motive  of  these  tears,  my  lord  ? 

IIS 


Act  IV.  Sc.  ii.  TRAGEDY  OF  OTHELLO. 

If  haply  you  my  father  do  suspect 

An  uistrument  of  this  your  calHng  back, 

Lay  not  your  blame  on  me :   if  you  have  lost  him, 

Why,  I  have  lost  him  too. 

0th.  Had  it  pleased  heaven 

To  try  me  with  affliction  ;  had  they  rain'd 
All  kinds  of  sores  and  shames  on  my  bare  head, 
Steep'd  me  in  poverty  to  the  very  lips,  50 

Given  to  captivity  me  and  my  utmost  hopes, 
I  should  have  found  in  some  place  of  my  soul 
A  drop  of  patience :  but,  alas,  to  make  me 
A  fixed  figure  for  the  time  of  scorn 
To  point  his  slow  unmoving  finger  at ! 
Yet  could  I  bear  that  too  ;  well,  very  well : 
But  there,  where  I  have  garner'd  up  my  heart. 
Where  either  I  must  live  or  bear  no  life, 
The  fountain  from  the  which  my  current  runs. 
Or  else  dries  up  ;  to  be  discarded  thence  !  60 

Or  keep  it  as  a  cistern  for  foul  toads 
To  knot  and  gender  in !     Turn  thy  complexion  there. 
Patience,  thou  young  and  rose-lipp'd  cherubin. 
Ay,  there,  look  grim  as  hell ! 

Dcs.  I  hope  my  noble  lord  esteems  me  honest. 

0th.  O,  ay;  as  summer  flies  are  in  the  shambles. 
That  quicken  even  with  blowing.     O  thou  weed. 
Who  art  so  lovely  fair  and  smell'st  so  sweet 
That  the  sense  aches  at  thee,  would  thou  hadst  ne'er 
been  born ! 

Dcs.  Alas,  what  ignorant  sin  have  I  committed  ?  70 

0th.  W^as  this  fair  paper,  this  most  goodly  book. 

Made  to  write  '  whore  '  upon  ?     What  committed ! 
Committed !     O  thou  public  commoner ! 
116 


THE  MOOR  OF  VENICE  Act  IV.  Sc.  ii. 

I  should  make  very  forges  of  my  cheeks, 

That  would  to  cinders  burn  up  modesty, 

Did  I  but  speak  thy  deeds.     What  committed ! 

Heaven  stops  the  nose  at  it,  and  the  moon  winks ; 

The  bawdy  wind,  that  kisses  all  it  meets, 

Is  hush'd  within  the  hollow  mine  of  earth, 

And  will  not  hear  it.     What  committed  !  80 

Impudent  strumpet ! 

Dcs.  By  heaven,  you  do  me  wrong. 

0th.  Are  not  you  a  strumpet? 

Dcs.  No,  as  I  am  a  Christian : 

If  to  preserve  this  vessel  for  my  lord 
From  any  other  foul  unlawful  touch 
Be  not  to  be  a  strumpet,  I  am  none. 

0th.  Wliat,  not  a  whore? 

Dcs.  No,  as  I  shall  be  saved. 

0th.  Is  't  possible? 

Dcs.  O,  heaven  forgive  us ! 

0th,  I  cry  you  mercy  then : 

I  took  you  for  that  cunning  whore  of  Venice 
That    married    with    Othello.      [Raising    his    voice} 
You,  mistress,  90 

That  have  the  office  opposite  to  Saint  Peter. 
And  keep  the  gate  of  hell ! 

Re-enter  Emilia. 

You,  you,  ay,  you ! 
y\Q  have  done  our  course ;    there  's  money  for  your 

pains : 
I  pray  you,  turn  the  kev,  and  keep  our  counsel. 

[Exit. 
EmiL  Alas,  what  does  this  gentleman  conceive? 

117 


Act  IV.  Sc.  ii.  TRAGEDY  OF  OTHELLO, 

How  do  you,  madam  ?  how  do  you,  my  good  lady  ? 

Des.  Faith,  half  asleep. 

Emil.  Good  madam,  what  's  the  matter  with  my  lord? 

Dcs.  With  who? 

Emil.  Why,  with  my  lord,  madam.  lOO 

Dcs.  Who  is  thy  lord? 

Emil.  He  that  is  yours,  sweet  lady. 

Des.  I  have  none :   do  not  talk  to  me,  Emilia ; 
I  cannot  weep,  nor  answer  have  I  none 
But  what  should  go  by  water.     Prithee,  to-night 
Lay  on  my  bed  my  wedding  sheets  :  remember ; 
And  call  thy  husband  hither. 

Emil.  Here's  a  change  indeed! 

{Exit. 

Des.  'Tis  meet  I  should  be  used  so,  very  meet. 

How  have  I  been  behaved,  that  he  might  stick 
The  small'st  opinion  on  my  least  misuse? 

Re-enter  Emilia,  with  I  a  go. 

logo.  \Miat  is  your  pleasure,   madam  ?     How  is  't   with 
you?  no 

Des.  I  cannot  tell.     Those  that  do  teach  young  babes 

Do  it  with  gentle  means  and  easy  tasks : 

He  might  have  chid  me  so ;   for,  in  good  faith, 

I  am  a  child  to  chiding. 
lago.  What 's  the  matter,  lady  ? 

Emil.  Alas,  lago,  my  lord  hath  so  bewhored  her, 

Thrown  such  despite  and  heavy  terms  upon  her, 

As  true  hearts  cannot  bear. 
Des.  Am  I  that  name,  lago? 

lago.  What  name,  fair  lady? 

Des.  Such  as  she  says  my  lord  did  say  I  was. 

ii8 


THE  MOOR  OF  VENICE  Act  IV.  Sc.  ii. 

Emil.  He  call'd  her  whore  :  a  beggar  in  his  drink         120 
Could  not  have  laid  such  terms  upon  his  callet. 

lago.  Why  did  he  so? 

Dcs.  I  do  not  know :    I  am  sure  I  am  none  such. 

lago.  Do  not  weep,  do  not  weep.     Alas  the  day ! 

Emil.  Hath  she  forsook  so  many  noble  matches, 
Her  father  and  her  country  and  her  friends, 
To  be  call'd  whore  ?  would  it  not  make  one  weep  ? 

Des.  It  is  my  wTetched  fortune. 

lao-Q.  Beshrew  him  for't! 

How  comes  this  trick  upon  him  ? 

Dcs.  Xay,  heaven  doth  know. 

Emil.  I  will  be  hang'd,  if  some  eternal  villain,  130 

Some  busy  and  insinuating  rogue. 
Some  cogging,  cozening  slave,  to  get  some  office, 
Have  not  devised  this  slander ;   I  '11  be  hang'd  else. 

Jago.  Fie,  there  is  no  such  man  :   it  is  impossible. 

Des.  If  any  such  there  be,  heaven  pardon  him ! 

Emil.  A  halter  pardon  him !   and  hell  gnaw  his  bones  ? 
Why  should  he  call  her  whore  ?   who  keeps  her  com- 
pany ? 
What  place?    what  time?    what  form?    what  likeli- 
hood? 
The  Moor's  abused  by  some  most  villanous  knave. 
Some  base  notorious  knave,  some  scurvy  fellow.  140 
O  heaven,  that  such  companions  thou  'Idst  unfold. 
And  put  in  every  honest  hand  a  whip 
To  lash  the  rascals  naked  through  the  world 
Even  from  the  east  to  the  west ! 

lago.  Speak  within  door. 

Emil.  O,  fie  upon  them!     Some  such  squire  he  was 
That  tum'd  your  wit  the  seamy  side  without, 

119 


Act  IV.  Sc.  ii.  TRAGEDY  OF  OTHELLO. 

And  made  you  to  suspect  me  with  the  Moor. 

I  ago.  You  are  a  fool ;  go  to. 

Dcs.  O  good  lago, 

What  shall  I  do  to  win  my  lord  again  ? 
Good  friend,  go  to  him ;   for,  by  this  light  of  heaven, 
I  know  not  how  I  lost  him.     Here  I  kneel :  151 

If  e'er  my  will  did  trespass  'gainst  his  love 
Either  in  discourse  of  thought  or  actual  deed, 
Or  that  mine  eyes,  mine  ears,  or  any  sense, 
Delighted  them  in  any  other  form, 
Or  that  I  do  not  yet,  and  ever  did. 
And  ever  will,  though  he  do  shake  me  ofif 
To  beggarly  divorcement,  love  him  dearly, 
Comfort  forswear  me!     Unkindness  may  do  much; 
And  his  unkindness  may  defeat  my  life,  160 

But  never  taint  my  love.     I  cannot  say  '  whore  ' : 
It  doth  abhor  rhe  now  I  speak  the  word  : 
To  do  the  act  that  might  the  addition  earn 
Not  the  world's  mass  of  vanity  could  make  me. 

lago.  I  pray  you,  be  content :   'tis  but  his  humour : 
The  business  of  the  state  does  him  offence. 
And  he  does  chide  with  you. 

Des.  If  'twere  no  other, — 

lago.  'Tis  but  so,  I  warrant.      [Trumpets  zvithin. 

Hark,  how  these  instruments  summon  to  supper ! 
The  messengers  of  Venice  stay  the  meat :  170 

Go  in,  and  weep  not ;  all  things  shall  be  well. 

[Exeunt  Desdeinona  and  Emilia. 

Enter  Roderigo. 

How  now,  Roderigo ! 
Rod,  I  do  not  find  that  thou  dealest  justly  with  me. 

120 


THE  MOOR  OF  VENICE  Act  IV.  Sc.  ii. 

logo.  What  in  the  contrary? 

Rod.  Every  day  thou  daffest  me  with  some  device, 
lago  ;  and  rather,  as  it  seems  to  me  now,  keepest 
from  me  all  conveniency  than  suppliest  me  with 
the  least  advantage  of  hope.  *  I  will  indeed  no 
longer  endure  it ;  nor  am  I  yet  persuaded  to  put 
up  in  peace  what  already  I  have  foolishly  suf-  i8o 
fered. 

lago.  Will  you  hear  me,  Roderigo  ? 

Rod.  Faith,  for  I  have  heard  too  much ;  for  your 
words  and  performances  are  no  kin  together. 

lago.  You  charge  me  most  unjustly. 

Rod.  With  nought  but  truth.  I  have  wasted  myself 
out  of  my  means.  The  jewels  you  have  had 
from  me  to  deliver  to  Desdemona  would  half 
have  corrupted  a  votarist :  you  have  told  me  she 
hath  received  them  and  returned  me  expecta- 
tions and  comforts  of  sudden  respect  and  ac-  190 
quaintance ;    but  I  find  none. 

lago.  \\' ell ;  go  to  ;  very  well. 

Rod.  Very  well !  go  to !  I  cannot  go  to,  man  ;  nor 
'tis  not  very  well :  by  this  hand,  I  say  'tis  very 
scurvy,  and  begin  to  find  myself  fopped  in  it. 

lago.  Very  well. 

Rod.  I  tell  you  'tis  not  very  well.     I  will  make  myself 
known  to  Desdemona :    if  she  will  return  me  my 
jewels,  I  will  give  over  my  suit  and  repent  my 
unlawful  solicitation  ;    if  not,  assure  yourself  I  200 
will  seek  satisfaction  of  you. 

lago.  You  have  said  now. 

Rod.  Ay.  and  said  nothing  but  what  I  protest  intend- 
ment of  doing. 

lago.  Why,  now  I  see  there  's  mettle  in  thee ;    and 

121 


Act  IV.  Sc.  ii.  TRAGEDY  OF  OTHELLO. 

even  from  this  instant  do  build  on  thee  a  better 
opinion  than  ever  before.  Give  me  thy  hand, 
Roderigo :  thou  hast  taken  against  me  a  most 
just  exception ;  but  yet,  I  protest,  I  have  dealt 
more  directly  in  thy  affair.  210 

Rod.  It  hath  not  appeared. 

lago.  I  grant  indeed  it  hath  not  appeared,  and  your 
suspicion  is  not  without  wit  and  judgement. 
But,  Roderigo,  if  thou  hast  that  in  thee  indeed, 
which  I  have  greater  reason  to  believe  now  than 
ever,  I  mean  purpose,  courage  and  valour,  this 
night  show  it :  if  thou  the  next  night  following 
enjoy  not  Desdemona,  take  me  from  this  world 
with  treachery  and  devise  engines  for  my  life. 

Rod.  Well,  what  is  it?   is  it  within  reason  and  com-  220 
pass? 

lago.  Sir,  there  is  especial  commission  come  from 
Venice  to  depute  Cassio  in  Othello's  place. 

Rod.  Is  that  true?  why  then  Othello  and  Desdemona 
return  again  to  Venice. 

lago.  0,no;  he  goes  into  Mauritania,  and  takes  away 
with  him  the  fair  Desdemona,  unless  his  abode  be 
lingered  here  by  some  accident :  wherein  none 
can  be  so  determinate  as  the  removing  of  Cassio.  230 

Rod.  How  do  you  mean,  removing  of  him  ? 

lago.  Why,  by  making  him  uncapable  of  Othello's 
place ;    knocking  out  his  brains. 

Rod.  And  that  you  would  have  me  to  do  ? 

lago.  Ay,  if  you  dare  do  yourself  a  profit  and  a  right. 
He  sups  to-night  with  a  harlotry,  and  thither  will 
I  go  to  him  :  he  knows  not  yet  of  his  honourable 


THE  MOOR  OF  VENICE  Act  IV.  Sc.  iii. 

fortune.  If  you  will  watch  his  going  thence, 
which  I  will  fashion  to  fall  out  between  twelve 
and  one,  you  may  take  him  at  your  pleasure :  I  240 
will  be  near  to  second  your  attempt,  and  he  shall 
fall  between  us.  Come,  stand  not  amazed  at  it, 
but  go  along  with  me ;  I  will  show  you  such  a 
necessity  in  his  death  that  you  shall  think  your- 
self bound  to  put  it  on  him.  It  is  now  high 
supper-time,  and  the  night  grows  to  waste: 
about  it. 

Rod.  I  will  hear  further  reason  for  this. 

I  ago.  And  you  shall  be  satisfied.  [Exeunt. 

Scene  III. 

Another  room  in  the  castle. 

Enter  Othello,  Lodovico,  Desdeniona,  Emilia,  and 
Attendants. 

Lod.  I  do  beseech  you,  sir,  trouble  yourself  no  further. 

0th.  O,  pardon  me ;    'twill  do  me  good  to  walk. 

Lod.  Madam,  good  night ;  I  humbly  thank  your  ladyship. 

Des.  Your  honour  is  most  welcome. 

0th.  Will  you  walk,  sir? 

O, — Desdemona, — 

Des.  My  lord  ? 

0th.  Get  you  to  bed  on  the  instant ;  I  will  be  re- 
turned forthwith  :  dismiss  your  attendant  there : 
look  it  be  done. 

Des.  I  will,  my  lord.  10 

[Exeunt  Othello,  Lodovico,  and  Attendants 

Emit.  How  goes  it  now  ?  he  looks  gentler  than  he  did. 

Des.  He  says  he  will  return  incontinent : 
He  hath  commanded  me  to  go  to  bed, 

123 


Act  IV.  Sc.  iii.  TRAGEDY  OF  OTHELLO, 

And  bade  me  to  dismiss  you. 

Ejiiil.  Dismiss  me! 

Dcs.  It  was  his  bidding  ;   therefore,  good  Emilia, 
Give  me  my  nightly  wearing,  and  adieu : 
We  must  not  now  displease  him. 

EmiL  I  would  you  had  never  seen  him! 

Dcs.   So  would  not  I :   my  love  doth  so  approve  him,      19 
That  even  his  stubbornness,  his  checks,  his  frowns, — 
Prithee,     unpin    me, — have    grace    and     favour    in 
them. 

Eniil.  I    have    laid    those    sheets    vou   bade    me    on    the 
bed. 

Dcs.  All  's  one.     Good  faith,  how  foolish  are  our  minds ! 
If  I  do  die  before  thee,  prithee,  shroud  me 
In  one  of  those  same  sheets. 

Emil.  Come,  come,  you  talk. 

Dcs.  My  mother  had  a  maid  call'd  Barbara : 

She  was  in  love ;   and  he  she  loved  proved  mad 
And  did  forsake  her  :   she  had  a  song  of  '  willow  ' ; 
An  old  thing  'twas,  but  it  express'd  her  fortune, 
And  she  died  singing  it :   that  song  to-night  30 

Will  not  go  from  my  mind  ;   I  have  much  to  do 
But  to  go  hang  my  head  all  at  one  side 
And  sing  it  like  poor  Barbara.     Prithee,  dispatch. 

Eniii.   Shall  I  go  fetch  your  night-pown  ^ 

Dcs.  No,  unpin  me  here. 

This  Lodovico  is  a  proper  man. 

Emil.  A  very  handsome  man. 

Dcs.  He  speaks  well. 

Einil.  I  know  a  lady  in  Venice  would  have  walked 
barefoot  to  Palestine  for  a  touch  of  his  nether 
lip.  40 

124 


THE  MOOR  OF  VENICE  Act  IV.  Sc.  iii. 

Des.  [Singing  \  The  poor  soul  sat  sighing  by  a  sycamore  tree, 
Sing  all  a  green  willow  ; 
Her  hand  on  her  bosom,  her  head  on  her  knee, 

Sing  willow,  willow,  willow : 
The  fresh   streams  ran  by  her,  and  murmur'd  her 
moans ; 
Sing  willow,  willow,  willow ; 
Her  salt  tears  fell  from  her,  and  soften'd  the  stones  ; — 
Lay  by  these  : — 

[Singing']    Sing  willow,  willow,  willow  ; 

Prithee,  hie  thee  ;   he  '11  come  anon  : —  50 

[5'f/z^f^//zo^]    Sino^  alia  green  willow  must  be  my  garland. 
Let  nobody  blame  him ;   his  scorn  I  approve, — 

Nay,  that  's  not  next.     Hark  !   who  is  't  that  knocks  ? 
Emil.  It 's  the  wind. 

Des.    [Singing]    I   call'd  my  love   false  love;    but  what 
said  he  then  ? 
Sing  willow,  willow,  willow : 
If  I  court  moe  women,  you  '11  couch  with  moe  men. 

So  get  thee  gone  ;  good  night.     ]\Iine  eyes  do  itch  ; 

Doth  that  bode  weeping? 
Emil.  'Tis  neither  here  nor  there. 

Des.  I  have  heard  it  said  so.     O,  these  men,  these  men ! 

Dost  thou  in  conscience  think, — tell  me,  Emilia, — 

That  there  be  women  do  abuse  their  husbands         62 

In  such  gross  kind? 
Emil.  There  be  some  such,  no  question. 

Des.  Wouldst  thou  do  such  a  deed  for  all  the  world  ? 
Emil.  Why,  would  not  you? 
Des,  No,  by  this  heavenly  light ! 

125 


Act  IV.  Sc.  iii.  TRAGEDY  OF  OTHELLO, 

Emil.  Nor  I  neither  by  this  heavenly  Hght ;   I  might 
do  't  as  well  i'  the  dark. 

Dcs.  Wouldst  thou  do  such  a  deed  for  all  the  world  ? 

Emil.  The  world  's  a  huge  thing :  it  is  a  great  price 
For  a  small  vice. 

Des.  In  troth,  I  think  thou  wouldst  not. 

Einil.  In  troth,  I  think  I  should  ;  and  undo  't  when  I  71 
had  done.  Marry,  I  would  not  do  such  a  thing 
for  a  joint-ring,  nor  for  measures  of  lawn,  nor 
for  gowns,  petticoats,  nor  caps,  nor  any  petty 
exhibition ;  but,  for  the  whole  world, — why, 
who  would  not  make  her  husband  a  cuckold  to 
make  him  a  monarch  ?  I  should  venture  purga- 
tory for  't. 

Des.  Beshrew  me,  if  I  would  do  such  a  wrong 

For  the  whole  world.  80 

Eniil.  Why,  the  wrong  is  but  a  wrong  i'  the  world ; 
and  having  the  Vv'orld  for  your  labour,  'tis  a 
wrong  in  your  own  world,  arid  you  might 
quickly  make  it  right. 

Des.  I  do  not  think  there  is  any  such  woman. 

Emil.  Yes,  a  dozen ;   and  as  many  to  the  vantage  as 
would  store  the  world  they  played  for. 
But  I  do  think  it  is  their  husbands'  faults 
If  wives  do  fall :   say  that  they  slack  their  duties 
And  pour  our  treasures  into  foreign  laps,  90 

Or  else  break  out  in  peevish  jealousies. 
Throwing  restraint  upon  us,  or  say  they  strike  us. 
Or  scant  our  former  having  in  despite, 
Why,  we  have  galls,  and  though  we  h.ave  some  grace, 
Yet  have  we  some  revenge.     Let  husbands  know 
Their  wives  have  sense  like  them  :  they  see  and  smell 
126 


THE  MOOR  OF  VENICE  Act  V.  Sc.  i. 

And  have  their  palates  both  for  sweet  and  sour, 
As  husbands  have.     What  is  it  that  they  do 
When  they  change  us  for  others?     Is  it  sport? 
I  think  it  is :  and  doth  affection  breed  it  ? 
I  think  it  doth:   is  't  frailty  that  thus  errs?  loo 

It  is  so  too :   and  have  not  we  affections, 
Desires  for  sport,  and  frailty,  as  men  have? 
Then  let  them  use  us  well :   else  let  them  know. 
The  ills  we  do,  their  ills  instruct  us  so. 
Des.  Good  night,  good  night :  heaven  me  such  uses  send, 
Not  to  pick  bad  from  bad,  but  by  bad  mend ! 

[Exeimt. 

ACT  FIFTH. 
Scene  I. 

Cyprus.     A  street. 
Enter  I  a  go  and  Roderigo. 

logo.  Here,  stand  behind  this  bulk  ;  straight  will  he  come : 
Wear  thy  good  rapier  bare,  and  put  it  home : 
Quick,  quick ;   fear  nothing ;   I  '11  be  at  thy  elbow : 
It  makes  us,  or  it  mars  us  ;   think  on  that. 
And  fix  most  firm  thy  resolution. 

Rod.  Be  near  at  hand ;   I  may  miscarry  in  't. 

lago.  Here,  at  thy  hand  :  be  bold,  and  take  thy  stand. 

[Retires. 

Rod.  I  have  no  great  devotion  to  the  deed ; 

And  yet  he  hath  given  me  satisfying  reasons: 

'Tis  but  a  man  gone.     Forth,  my  sword  :   he  dies.  lo 

lago.  I  have  rubb'd  this  young  quat  almost  to  the  sense. 
And  he  grows  angry.     Now,  whether  he  kill  Cassio, 
Or  Cassio  him,  or  each  do  kill  the  other, 
127 


Act  V.  Sc.  i.  TRAGEDY  OF  OTHELLO, 

Every  way  makes  my  gain  :  live  Roderigo, 

He  calls  me  to  a  restitution  large 

Of  gold  and  jewels  that  I  bobb'd  from  him, 

As  gifts  to  Desdemona : 

It  must  not  be :   if  Cassio  do  remain, 

He  hath  a  daily  beauty  in  his  life 

That  makes  me  ugly  ;  and  besides,  the  Moor  20 

May  unfold  me  to  him  ;  there  stand  I  in  much  peril : 

No,  he  must  die.     Be  't  so.     I  hear  him  coming. 

Enter  Cassio. 

Rod.  I  know  his  gait ;   'tis  he.     Villain,  thou  diest ! 

[Makes  a  pass  at  Cassio. 
Cas.  That  thrust  had  been  mine  enemy  indeed, 

But  that  my  coat  is  better  than  thou  know'st : 
I  will  make  proof  of  thine. 

[Drazi's,  and  icounds  Roderigo. 
Rod.  O,  I  am  slain  ! 

[I ago  from  behind  zi'ounds  Cassio  in  the  leg,  and  exit. 
Cas.  I  am  maim'd  for  ever.     Help,  ho  !  murder  !  murder ! 

[Falls. 

Enter  Othello. 

0th.  The  voice  of  Cassio:    lago  keeps  his  word. 

Rod.  O,  villain  that  I  am ! 

0th.  It  is  even  so. 

Cas.  O,  help,  ho  !    light !   a  surgeon  !  30 

OfJi.  'Tis  he.     O  brave  lago,  honest  and  just, 

That  hast  such  noble  sense  of  thy  friend's  wrong ! 
Thou  teachest  me.     Minion,  your  dear  lies  dead, 
And  your  unblest  fate  hies  :   strumpet,  I  come ! 
Forth  of  my  heart  those  charms,  thine  eyes,  are  blotted  : 
Thv  bed  lust-stain'd  shall  with  lust's  blood  be  spotted. 

[Exit. 

128 


THE  MOOR  OF  VENICE  'Act  V.  Sc.  i. 

Enter  Lodovico  and  Gratiano. 

Cas.  What,  ho  !  no  watch  ?  no  passage  ?  murder  !  murder ! 

Gra.  'Tis  some  mischance;   the  cry  is  very  direful. 

Cas,  O,  help! 

Lod.  Hark !  40 

Rod.  O  wretched  villain. 

Lod.  Two  or  three  groan  :  it  is  a  heavy  night : 

These  may  be  counterfeits  :   let  's  think  't  unsafe 
To  come  into  the  cry  without  more  help. 

Rod.  Nobody  come  ?  then  shall  I  bleed  to  death. 

Lod.  Hark! 


Re-enter  I  ago,  zvith  a  light. 

Gra.  Here's  one  comes  in  his  shirt,  with  light  and  weapons. 

I  ago.  Who's  there  ?  whose  noise  is  this  that  cries  on  murder  ? 

Lod.  We  do  not  know. 

lago.  Did  not  you  hear  a  cry?  49 

Cas.  Here,  here !    for  heaven's  sake,  help  me ! 

lago.  What 's  the  matter  ? 

Gra.  This  is  Othello's  ancient,  as  I  take  it. 

Lod.  The  same  indeed ;  a  very  valiant  fellow. 

lago.  What  are  you  here  that  cry  so  grievously? 

Cas.  lago?     O,  I  am  spoil'd,  undone  by  villains! 

Give  me  some  help. 
lago.  O  me,  lieutenant !   what  villains  have  done  this  ? 
Cas.  I  think  that  one  of  them  is  here  about. 

And  cannot  make  away. 
lacro.  O  treacherous  villains? 

o 

What  are  you  there  ?   come  in  and  give  some  help. 

[To  Lodovico  and  Gratiano. 
Rod.  Q,  help  me  here  !  60 

Cas.  That 's  one  of  them. 

129 


Act  V.  Sc.  i.  •  TRAGEDY  OF  OTHELLO. 

lago.  O  murderous  slave !     O  villain  ! 

[Stabs  Roderigo. 
Rod.  O  damn'd  lago!   O  inhuman  dog! 
lago.  Kill  men  i'  the  dark !  Where  be  these  bloody  thieves  ? 

How  silent  is  this  town !     Ho !   murder !   murder ! 

What  may  you  be  ?  are  you  of  good  or  evil  ? 
Lod.  As  you  shall  prove  us,  praise  us. 
lago.  Signior  Lodovico? 
Lod,  He,  sir. 

lago.  I  cry  you  mercy.     Here  's  Cassio  hurt  by  villains. 
Gra.  Cassio!  70 

lago.  How  is  't,  brother  ? 
Cas.  My  leg  is  cut  in  two. 
lago.  Marry,  heaven  forbid! 

Light,  gentlemen :   I  '11  bind  it  with  my  shirt. 

Enter  Bianca. 

Bian.  What  is  the  matter,  ho  ?  who  is  't  that  cried  ? 

lago.  Who  is  't  that  cried ! 

Bian.  O   my   dear   Cassio!    my   sweet    Cassio!     O 

Cassio,  Cassio,  Cassio ! 
lago.  O  notable  strumpet !     Cassio,  may  you  suspect 
Who  they  should  be  that  have  thus  mangled  you  ? 
Cas.  No.  80 

Gra.  I  am  sorry  to  find  you  thus  :  I  have  been  to  seek  you. 
lago.  Lend  me  a  garter.     So.     O,  for  a  chair. 

To  bear  him  easily  hence ! 
Bian.  Alas,  he  faints !   O  Cassio,  Cassio,  Cassio ! 
lago.  Gentlemen  all,  I  do  suspect  this  trash 

To  be  a  party  in  this  injury. 

Patience  awhile,  good  Cassio.     Come,  come; 

Lend  me  a  light.     Know  we  this  face  or  no? 

130 


THE  MOOR  OF  VENICE  Act  V.  Sc.  i. 

Alas,  my  friend  and  my  dear  countryman 

Roderigo?   no: — yes,  sure:   O  heaven!   Roderigo. 
Gra,  What,  of  Venice?  91 

lago.  Even  he,  sir :   did  you  know  him  ? 
Gra.  Know  him !   ay. 

lago.  Signior  Gratiano  ?     I  cry  you  gentle  pardon  ; 

These  bloody  accidents  must  excuse  my  manners, 

That  so  neglected  you. 
Gra.  I  am  glad  to  see  you. 

lago.  How  do  you,  Cassio  ?     O,  a  chair,  a  chair  ? 
Gra.  Roderigo! 

lago.  He,  he,  'tis  he.      [A  chair  brought  in.]      O,  that's 
well  said ;  the  chair : 

Some  good  man  bear  him  carefully  from  hence ; 

I  '11  fetch  the  general's  surgeon.      [To  Biafica]      For 
you,  mistress,  100 

Save  you  your  labour.    He  that  lies  slain  here,  Cassio, 

Was  my  dear  friend :   what  malice  was  between  you  ? 
Gas.  None  in  the  world ;  nor  do  I  know  the  man. 
lago.   [To  Bian.]   What,  look  you  pale?  O,  bear  him  out 
o'  the  air.        [Gassio  and  Roderigo  are  home  off. 

Stay   you,   good   gentlemen.     Look   you   pale,    mis- 
tress ? 

Do  you  perceive  the  gastness  of  her  eye? 

Nay,  if  you  stare,  we  shall  hear  more  anon. 

Behold  her  well ;   I  pray  you,  look  upon  her  : 

Do  you  see,  gentlemen  ?  nay,  guiltiness  will  speak, 

Though  tongues  were  out  of  use.  no 

Enter  Emilia. 

Emil.  'Las,  what's  the  matter?    what's  the  matter,  hus- 
band? 
lago.  Cassio  hath  here  been  set  on  in  the  dark 

131 


Act  V.  Sc.  ii.  TRAGEDY  OF  OTHELLO. 

By  Roderigo,  and  fellows  that  are  'scaped : 

He  's  almost  slain,  and  Roderigo  dead. 
Emil.  Alas,  good  gentleman !   alas,  good  Cassio ! 
lago.  This  is  the  fruit  of  whoring.     Prithee,  Emilia, 

Go  know  of  Cassio  where  he  supp'd  to-night. 

What,  do  you  shake  at  that  ? 
Bian.  He  supp'd  at  my  house ;  but  I  therefore  shake  not. 
lago.  O,  did  he  so?.  I  charge  you,  go  with  me.  120 

Emil.  Fie,  fie  upon  thee,  strumpet ! 
Bian.  I  am  no  strumpet ;  but  of  life  as  honest 

As  you  that  thus  abuse  me. 
Einil.  As  I !  foh  !  fie  upon  thee ! 

lago.  Kind  gentlemen,  let 's  go  see  poor  Cassio  dress'd. 

Come,  mistress,  you  must  tell  's  another  tale. 

Emilia,  run  you  to  the  citadel. 

And  tell  my  lord  and  lady  what  hath  happ'd ! 

Will  you  go  on  ?  I  pray.   [Aside]   This  is  the  night 

That  either  makes  me  or  fordoes  me  quite.  [Exeunt. 

Scene  IL 

A  bedchamber  in  the  castle:  Desdemona  in  bed 
asleep ;   a  light  burning. 

Enter  Othello. 

0th.  It  is  the  cause,  it  is  the  cause,  my  soul : 

Let  me  not  name  it  to  you,  you  chaste  stars ! 
It  is  the  cause.  Yet  I  '11  not  shed  her  blood, 
Nor  scar  that  whiter  skin  of  hers  than  snow 
And  smooth  as  monumental  alabaster. 
Yet  she  must  die,  else  she  '11  betray  more  men. 
Put  out  the  light,  and  then  put  out  the  light : 
If  I  quench  thee,  thou  flaming  minister, 

132 


THE  MOOR  OF  VENICE  Act  V.  Sc.  ii. 

I  can  again  thy  former  light  restore, 

Should  I  repent  me :  but  once  put  out  thy  light,      lo 

Thou  cunning'st  pattern  of  excelling  nature, 

I  know  not  where  is  that  Promethean  heat 

That  can  thy  light  relume.     When  I  have  pluck'd 

the  rose, 
I  cannot  give  it  vital  growth  again, 
It  must  needs  wither :    I  '11  smell  it  on  the  tree. 

[Kissing  her. 
Ah,  balmy  breath,  that  dost  almost  persuade 
Justice  to  break  her  sword !     One  more,  one  more : 
Be  thus  when  thou  art  dead,  and  I  will  kill  thee, 
And  love  thee  after :   one  more,  and  this  the  last : 
So  sweet  was  ne'er  so  fatal.     I  must  weep,  20 

But  they  are  cruel  tears :  this  sorrow  's  heavenly ; 
It  strikes  where  it  doth  love.     She  wakes. 

Des.  Who's  there?  Othello? 

Otli.  Ay,  Desdemona. 

Dcs.  Will  you  come  to  bed,  my  lord? 

0th.  Have  you  pray'd  to-night,  Desdemona? 

Des.  Ay,  my  lord. 

0th.  If  you  bethink  yourself  of  any  crime 
Unreconciled  as  yet  to  heaven  and  grace, 
Solicit  for  it  straight. 

Des.  Alas,  my  lord,  what  may  you  mean  by  that? 

0th,  Wdl,  do  it,  and  be  brief ;   I  will  walk  by :  30 

I  would  not  kill  thy  unprepared  spirit ; 
No ;  heaven  forfend  !     I  would  not  kill  thy  soul. 

Des.  Talk  you  of  killing? 

0  th.  Ay,  I  do. 

Des.  Then  heaven  have  mercy  on  me ! 

0th.  Amen,  with  all  my  heart ! 

133 


Act  V.  Sc.  ii.  TRAGEDY  OF  OTHELLO. 

Des.  If  you  say  so,  I  hope  you  will  not  kill  me. 

0th.  Hum! 

Dcs.  And  yet  I  fear  you ;   for  you  are  fatal  then 

When  your  eyes  roll  so  :  why  I  should  fear  I  know  not, 
Since  guiltiness  I  know  not ;  but  yet  I  feel  I  fear. 

0th.  Think  on  thy  sins. 

Des.  They  are  loves  I  bear  to  you.     40 

0th.  Ay,  and  for  that  thou  diest. 

Dcs.  That  death  's  unnatural  that  kills  for  loving. 
Alas,  why  gnaw  you  so  your  nether  lip  ? 
Some  bloody  passion  shakes  your  very  frame: 
These  are  portents  ;  but  yet  I  hope,  I  hope, 
They  do  not  point  on  me. 

0th.  Peace,  and  be  still! 

Dcs.  I  will  so.     What 's  the  matter? 

0th.  That  handkerchief  which  I  so  loved  and  gave  thee 
Thou  gavest  to  Cassio. 

Des.  .       No,  by  my  life  and  soul !       49 

Send  for  the  man,  and  ask  him. 

0th.  Sweet  soul,  take  heed. 

Take  heed  of  perjury;  thou  art  on  thy  death-bed. 

Dcs.  Ay,  but  not  yet  to  die. 

0th.  Yes,  presently : 

Therefore  confess  thee  freely  of  thy  sin  ; 
For  to  deny  each  article  with  oath 
Cannot  remove  nor  choke  the  strong  conception 
That  I  do  groan  withal.     Thou  art  to  die. 

Dcs.  Then  Lord  have  mercy  on  me ! 

0th.  I  say,  amen. 

Des.  And  have  you  mercy  too !     I  never  did 
Offend  you  in  my  life ;  never  loved  Cassio 
But  with  such  general  warranty  of  heaven  60 

134 


THE  MOOR  OF  VENICE  Act  V.  Sc.  ii. 

As  I  might  love :   I  never  gave  him  token. 
0th.  By  heaven,  I  saw  my  handkerchief  in  's  hand. 

0  perjured  woman!   thou  dost  stone  my  heart, 
And  makest  me  call  what  I  intend  to  do 

A  murder,  which  I  thought  a  sacrifice : 

1  saw  the  handkerchief. 

Des.  He  found  it  then ; 

I  never  gave  it  him :   send  for  him  hither ; 

Let  him  confess  a  truth. 
0th.  He  hath  confess'd. 

Des,  What,  my  lord? 
0th.  That  he  hath  used  thee. 
Des.  How?   unlawfully? 

0  th.  Ay.  70 

Des.  He  will  not  say  so. 
0th.  No,  his  mouth  is  stopp'd; 

Honest  lago  hath  ta'en  order  for  't. 
Des.  O,  my.  fear  interprets !   what,  is  he  dead  ? 
0th.  Had  all  his  hairs  been  lives,  my  great  revenge 

Had  stomach  for  them  all. 
Des.  Alas,  he  is  betray'd,  and  I  undone! 
0th.  Out,  strumpet !  weep'st  thou  for  him  to  my  face? 
Des.  O,  banish  me,  my  lord,  but  kill  me  not ! 
0th.  Down,  strumpet! 

Des.  Kill  me  to-morrow  ;   let  me  live  to-night !  80 

0th.  Nay,  if  you  strive, — 
Des.  But  half  an  hour! 

0th.  Being  done,  there  is  no  pause. 

Des.  But  while  I  say  one  prayer ! 

0th.  It  is  too  late.      [He  stifles  her. 

Emil.    [Within]   I\Iy  lord,  my  lord!    what,  ho!   my  lord, 
my  lord ! 

^35 


Act  V.  Sc.  ii.  TRAGEDY  OF  OTHELLO, 

0th.  What  noise  is  this  ?     Not  dead  ?  not  yet  quite  dead  ? 

I  that  am  cruel  am  yet  merciful ; 

I  would  not  have  thee  linger  in  thy  pain : 

So,  so. 
Emil.   [Within]   What,  ho!   my  lord,  my  lord! 
0th.  Who's  there? 

Emil.    [Within]   O,  good  my  lord,  I  would  speak  a  word 
with  you !  90 

0th.  Yes :   'tis  Emilia.     By  and  by.     She  's  dead. 

'Tis  like  she  comes  to  speak  of  Cassio's  death. 

The  noise  was  here.     Ha !  no  more  moving  ? 

Still  as  the  grave.     Shall  she  come  in  ?  were  't  good  ? 

I  think  she  stirs  again.     No.     What's  best  to  do? 

If  she  come  in,  she  '11  sure  speak  to  my  wife : 

My  wife!  my  wife!   what  wife?     I  have  no  wife. 

O,  insupportable!     O  heavy  hour! 

Methinks  it  should  be  now  a  huge  eclipse 

Of  sun  and  moon,  and  that  the  affrighted  globe  100 

Should  yawn  at  alteration. 
Emil.  [Within]   I  do  beseech  you 

That  I  may  speak  with  you,  O,  good  my  lord ! 
0th.  T  had  forgot  thee :  O,  come  in,  Emilia. 

Soft ;  by  and  by.     Let  me  the  curtains  draw. 

Where  art  thou?  [Unlocks  the  door. 

Enter  Emilia. 

What 's  the  matter  with  thee  now  ? 
Emil.  O,  my  good  lord,  yonder  's  foul  murders  done ! 
0th.  What,  now? 
Emil.  But  now,  my  lord. 
0th,  It  is  the  very  error  of  the  moon  ; 

She  comes  more  nearer  earth  than  she  was  wont 

136 


THE  MOOR  OF  VENICE  Act  V.  Sc.  ii. 

And  makes  men  mad.  ill 

EmiL  Cassio,  my  lord,  hath  kill'd  a  young  Venetian 

Call'd  Roderigo. 
0th.  Roderigo  kill'd ! 

And  Cassio  kill'd ! 
EmiL  No,  Cassio  is  not  kill'd. 

0th.  Not  Cassio  kill'd !   then  murder  's  out  of  tune, 

And  sweet  revenge  grows  harsh. 
Des.  O,  falsely,  falsely  murder'd ! 

EmiL  Alas,  what  cry  is  that? 

0th.  That!   what? 
EmiL  Out,  and  alas !   that  was  my  lady's  voice. 

Help!   help,  ho!   help!     O  lady,  speak  again  !        I20 

Sweet  Desdemona!    O  sw^eet  mistress,  speak! 
Des.  A  guiltless  death  I  die. 
EmiL  O,  who  hath  done  this  deed  ? 
Des.  Nobody  ;   I  myself.     Farewell : 

Commend  me  to  my  kind  lord :   O,  farewell !     [Dies. 
0th.  Why,  how  should  she  be  murder'd? 
EmiL  Alas,  who  knows  ? 

0th.  You  heard  her  say  herself,  It  was  not  I. 
EmiL  She  said  so :   I  must  needs  report  the  truth. 
0th.  She  's  like  a  liar  gone  to  burning  hell : 

'Twas  I  that  kill'd  her. 
EmiL  O,  the  more  angel  she,         130 

And  you  the  blacker  devil ! 
0th.  She  tum'd  to  folly,  and  she  was  a  whore. 
EmiL  Thou  dost  belie  her,  and  thou  art  a  devil. 
0th.  She  was  false  as  water. 
EmiL  Thou  art  rash  as  fire,  to  say 

That  she  was  false :  O,  she  was  heavenly  true ! 
0th.  Cassio  did  top  her ;  ask  thy  husband  else. 

137 


Act  V.  Sc.  ii.  TRAGEDY  OF  OTHELLO. 

O,  I  were  damn'd  beneath  all  depth  in  hell, 

But  that  I  did  proceed  upon  just  grounds 

To  this  extremity.     Thy  husband  knew  it  all. 
Emil.  My  husband !  140 

0  th.  Thy  husband.  * 

Ejjiil.  That  she  was  false  to  wedlock? 
OtJi.  Ay,  with  Cassio.     Nay,  had  she  been  true, 

If  heaven  would  make  me  such  another  world 

Of  one  entire  and  perfect  chrysolite, 

I  'Id  not  have  sold  her  for  it. 
Emil.  My  husband! 
0th.  Ay,  'twas  he  that  told  me  first: 

An  honest  man  he  is,  and  hates  the  slime 

That  sticks  on  filthy  deeds. 
Emil.  My  husband!  149 

0th.  What  needs  this  iteration,  woman  ?  I  say  thy  husband. 
Emil.  O  mistress,  villany  hath  made  mocks  with  love ! 

My  husband  say  that  she  was  false ! 
0th.  He,  woman ; 

I  say  thy  husband:   dost  understand  the  word? 

My  friend,  thy  husband,  honest,  honest  lago. 
Emil.  If  he  say  so,  may  his  pernicious  soul 

Rot  half  a  grain  a  day !   he  Hes  to  the  heart : 

She  was  too  fond  of  her  most  filthy  bargain. 
0th.  Ha! 
Emil.  Do  thy  worst : 

This  deed  of  thine  is  no  more  worthy  heaven        160 

Than  thou  wast  worthy  her. 
0th.  Peace,  you  were  best. 

Emil.  Thou  hast  not  half  that  power  to  do  me  harm 

As  I  have  to  be  hurt.     O  gull !     O  dolt ! 

As  ignorant  as  dirt !   thou  hast  done  a  deed— 

138 


THE  MOOR  OF  VENICE  Act  V.  Sc.  ii. 

I  care  not  for  thy  sword ;   I  '11  make  thee  known, 
Though  I  lost  twenty  lives.     Help !   help,  ho !   help  I 
The  Moor  hath  kill'd  my  mistress !    Murder !  murder ! 

Enter  Montano,  Gratiano,  lago,  and  others, 

Mon.  What  is  the  matter  ?     How  now,  general ! 
Emil.  O,  are  you  come,  lago?   you  have  done  well. 

That  men  must  lay  their  murders  on  your  neck.     170 
Gra.  What  is  the  matter? 
Emil.  Disprove  this  villain,  if  thou  be'st  a  man : 

He  says  thou  told'st  him  that  his  wife  was  false : 

I  know  thou  didst  not,  thou  'rt  not  such  a  villain. 

Speak,  for  my  heart  is  full. 
lago.  I  told  him  what  I  thought,  and  told  no  more 

Than  what  he  found  himself  was  apt  and  true. 
Emil.  But  did  you  ever  tell  him  she  was  false  ? 
lago.  I  did. 
Emil,  You  told  a  lie,  an  odious,  damned  lie;  180 

Upon  my  soul,  a  lie,  a  wicked  lie ! 

She  false  with  Cassio  !     Did  you  say  with  Cassio  ? 
lago.  With  Cassio,  mistress.     Go  to,  charm  your  tongue. 
Emil.  I  will  not  charm  my  tongue ;  I  am  bound  to  speak  : 

My  mistress  here  lies  murder'd  in  her  bed, — 
All.  O  heavens  forf end ! 

Eniil.  And  your  reports  have  set  the  murder  on. 
0th.  Nay,  stare  not,  masters :   it  is  true  indeed. 
Gra.  'Tis  a  strange  truth. 
Mon.  O  monstrous  act ! 
E,mil.  Villany,  villany,  villany !  190 

I  think  upon  't :   I  think :   I  smell 't :   O  villany ! 

I  thought  so  then  :   I  '11  kill  myself  for  grief  : 

O  villany,  villany ! 

139 


Act  V.  Sc.  ii.  TRAGEDY  OF  OTHELLO. 

I  ago.  What,  are  you  mad  ?     I  charge  you,  get  you  home. 

Emil.  Good  gentlemen,  let  me  have  leave  to  speak : 
'Tis  proper  I  obey  him,  but  not  now. 
Perchance,  lago,  I  will  ne'er  go  home. 

0th.  0\     O!     O!  [Falling  on  the  bed. 

Emil.  Nay,  lay  thee  down  and  roar ; 

For  thou  hast  kill'd  the  sweetest  innocent 
That  e'er  did  lift  up  eye. 

0th.  [Rising^^   O,  she  was  foul !  200 

I  scarce  did  know  you,  uncle :  there  lies  your  niece, 
Whose  breath  indeed  these  hands  have  newly  stopp'd : 
I  know  this  act  shows  horrible  and  grim. 

Gra.  Poor  Desdemona !     I  am  glad  thy  father  's  dead : 
Thy  match  was  mortal  to  him,  and  pure  grief 
Shore  his  old  thread  in  twain :   did  he  live  now. 
This  sight  would  make  him  do  a  desperate  turn, 
Yea,  curse  his  better  angel  from  his  side, 
And  fall  to  reprobation. 

0th.  'Tis  pitiful ;  but  yet  lago  knows  210 

That  she  with  Cassio  hath  the  act  of  shame 
A  thousand  times  committed  ;  Cassio  confess'd  it : 
And  she  did  gratify  his  amorous  works 
With  that  recognizance  and  pledge  of  love 
Which  I  first  gave  her ;   I  saw  it  in  his  hand : 
It  was  a  handkerchief,  an  antique  token 
My  father  gave  my  mother. 

Emil.  O  heaven  !     O  heavenly  powers ! 

lago.  'Zounds  !   hold  your  peace. 

Emil.  Twill  out,  'twill  out.     I  peace! 

No,  I  will  speak  as  liberal  as  the  north :  220 

Let  heaven  and  men  and  devils,  let  them  all. 
All,  all,  cry  shame  against  me,  yet  I  '11  speak. 
140 


THE  MOOR  OF  VENICE  Act  V.  Sc.  ii. 

lago.  Be  wise,  and  get  you  home. 

Emil.  I  will  not. 

[lago  offers  to  stab  Emilia. 
Gra.  Fie ! 

Your  sword  upon  a  woman ! 
Emil.  O  thou  dull  Moor!  that  handkerchief  thou  speak'st 
of 

I  found  by  fortune  and  did  give  my  husband; 

For  often  with  a  solemn  earnestness, 

More  than  indeed  belong'd  to  such  a  trifle, 

He  begg'd  of  me  to  steal  it. 
lago.  A'illanous  whore! 

Emil.  She  give  it  Cassio !   no,  alas,  I  found  it,  230 

And  I  did  give  't  my  husband. 
lago.  Filth,  thou  liest ! 

Emil.  By  heaven,  I  do  not,  I  do  not,  gentlemen. 

O  murderous  coxcomb !    what  should  such  a  fool 

Do  with  so  good  a  wife? 
0th.  Are  there  no  stones  in  heaven 

But  what  serve  for  the  thunder  ?     Precious  villain  ! 
[He  runs  at  lago:  lago,  from  behind, 
stabs  Emilia,  and  exit. 
Gra*.  The  woman  falls  ;  sure,  he  hath  kill'd  his  wife. 
Emil.  Ay,  ay  :  O,  lay  me  by  my. mistress'  side. 
Gra.  He  's  gone,  but  his  wife  's  kill'd. 
Mon.  'Tis  a  notorious  villain.     Take  you  this  weapon, 

Which  I  have  here  recover'd  from  the  Moor :         240 

Come,  guard  the  door  without ;   let  him  not  pass, 

But  kill  him  rather.     I  '11  after  that  same  villain. 

For  'tis  a  damned  slave. 

[Exeunt  all  but  Othello  and  Emilia. 
0th.  I  am  not  valiant  neither, 

141 


Act  V.  Sc.  ii.  TRAGEDY  OF  OTHELLO. 

But  every  puny  whipster  gets  my  sword. 

But  why  should  honour  outUve  honesty? 

Let  it  go  all. 
Efiiil.  What  did  thy  song  bode,  lady? 

Hark,  canst  thou  hear  me  ?     I  will  play  the  swan, 

And  die  in  music.   [vS/n^/;/ o-]   Willow,  willow,  willow. 

Moor,  she  was  chaste ;  she  loved  thee,  cruel  Moor ; 

So  come  my  soul  to  bliss,  as  I  speak  true ;  250 

So  speaking  as  I  think,  I  die,  I  die.  [Dies. 

0th.  I  have  another  weapon  in  this  chamber ; 

It  is  a  sword  of  Spain,  the  ice-brook's  temper. — 

O,  here  it  is.     Uncle,  I  must  come  forth. 
Gra.    [Within]    If  thou  attempt  it,  it  will  cost  thee  dear: 

Thou  hast  no  weapon,  and  perforce  must  suffer. 
0th.  Look  in  upon  me  then,  and  speak  with  me, 

Or,  naked  as  I  am,  I  will  assault  thee. 

Re-enter  Gratiano. 

Gra.  What  is  the  matter? 

0th.  Behold,  I  have  a  weapon; 

A  better  never  did  itself  sustain  260 

Upon  a  soldier's  thigh :   I  have  seen  the  day 
That  with  this  little  arm  and  this  good  sword 
I  have  made  my  way  .through  more  impediments 
Than  twenty  times  your  stop :   but,  O  vain  boast ! 
Who  can  control  his  fate?   'tis  not  so  now. 
Be  not  afraid,  though  you  do  see  me  weapon'd ; 
Here  is  my  journey's  end,  here  is  my  butt 
And  very  sea-mark  of  my  utmost  sail. 
Do  you  go  back  dismay'd  ?   'tis  a  lost  fear : 
Man  but  a  rush  against  Othello's  breast,  270 

And  he  retires.     Where  should  Othello  go? 
142 


THE  MOOR  OF  VENICE  Act  V.  Sc.  ii. 

Now,  how  dost  thou  look  now  ?    O  ill-starr'd  wench  ! 

Pale  as  thy  smock !   when  we  shall  meet  at  compt, 

This  look  of  thine  will  hurl  my  soul  from  heaven, 

And  fiends  will  snatch  at  it.    Cold,  cold,  my  girl ! 

Even  like  thy  chastity.    O  cursed  slave ! 

Whip  me,  ye  devils. 

From  the  possession  of  this  heavenly  sight ! 

Blow  me  about  in  winds  !  roast  me  in  sulphur  ! 

Wash  me  in  steep-down  gulfs  of  liquid  fire !  280 

O  Desdemona !  Desdemona !  dead ! 

Oh!  Oh!  Oh! 

Enter  Lodovico,  Montana,  Cassio  carried  in  a  chair, 
and  Oificers,  kvith  I  a  go,  prisoner. 

Lod.  Where  is  this  rash  and  most  unfortunate  man? 
0th.  That 's  he  that  was  Othello :  here  I  am. 
Lod.  Where  is  that  viper  ?  bring  the  villain  forth. 
0th.  I  look  down  towards  his  feet;  but  that 's  a  fable. 

If  that  thou  be'st  a  devil,  I  cannot  kill  thee. 

[Wounds  lago. 
Lod.  Wrench  his  sword  from  him. 

lago.  1  bleed,  sir,  but  not  kilFd. 

0th.  I  am  not  sorry  neither  :   I  'Id  have  thee  live ; 

For,  in  my  sense,  'tis  happiness  to  die.  290 

Lod.  O  thou  Othello,  that  wert  once  so  good, 

Fall'n  in  the  practice  of  a  damned  slave, 

What  shall  be  said  to  thee? 
0th.  Why,  any  thing: 

An  honourable  murderer,  if  you  will ; 

For  nought  did  I  in  hate,  but  all  in  honour. 
Lod.  This  wretch  hath  part  confess'd  his  villany:  ? 

Did  you  and  he  consent  in  Cassio's  death? 

143 


Act  V.  Sc.  ii.  TRAGEDY  OF  OTHELLO. 

0  th,  Ay. 

Cas.  Dear  general,  I  never  gave  you  cause. 

0th.  I  do  believe  it,  and  I  ask  your  pardon.  300 

Will  you,  I  pray,  demand  that  demi-devil 
Why  he  hath  thus  ensnared  my  soul  and  body  ? 

1  ago.  Demand  me  nothing ;   what  you  know,  you  know : 

From  this  time  forth  I  never  will  speak  word. 
Lod.  What,  not  to  pray  ? 

Gra.  Torments  will  ope  your  lips. 

0th.  Well,  thou  dost  best. 
Lod.  Sir,  you  shall  understand  what  hath  befall'n, 

Which,  as  I  Chink,  you  know  not.    Here  is  a  letter 

Found  in  the  pocket  of  the  slain  Roderigo, 

And  here  another :  the  one  of  them  imports  310 

The  death  of  Cassio  to  be  undertook 

By  Roderigo. 
0th.  O  villain ! 

Cas.  Most  heathenish  and  most  gross ! 

Lod.  Now  here  's  another  discontented  paper. 

Found  in  his  pocket  too ;  and  this,  it  seems, 

Roderigo  meant  to  have  sent  this  damned  villain ; 

But  that,  belike,  lago  in  the  interim 

Came  in  and  satisfied  him. 
0th.  O  the  pernicious  caitiff ! 

How  came  you,  Cassio,  by  that  handkerchief 

That  was  my  wife's  ? 
Cas.  I  found  it  in  my  chamber :        320 

And  he  himself  confess'd  but  even  now 

That  there  he  dropp'd  it  for  a  special  purpose 

Which  wrought  to  his  desire. 
^Oth.  O  fool!   fool!   fool! 

Cas.  There  is  besides  In  Roderigo's  letter, 

144 


THE  MOOR  OF  VENICE  Act  V.  Sc.  ii. 

How  he  upbraids  lago,  that  he  made  him 
Brave  me  upon  the  watch ;  whereon  it  came 
That  I  was  cast :  and  even  but  now  he  spake 
After  long  seeming  dead,  lago  hurt  him, 
lago  set  him  on. 

Lod.  You  must  forsake  this  room,  and  go  with  us  :      330 
Your  power  and  your  command  is  taken  off, 
And  Cassio  rules  in  Cyprus.    For  this  slave, 
If  there  be  any  cunning  cruelty 
That  can  torment  him  much  and  hold  him  long. 
It  shall  be  his.    You  shall  close  prisoner  rest. 
Till  that  the  nature  of  your  fault  be  known 
To  the  Venetian  state.    Come,  bring  away. 
0th.  Soft  you ;  a  word  or  two  before  you  go. 

I^have  done  the  state  some  service,  and  they  know  't. 
No  more  of  that.    I  pray  you,  in  your  letters,  340 

When  you  shall  these  unlucky  deeds  relate. 
Speak  of  me  as  I  am  ;  nothing  extenuate. 
Nor  set  down  aught  in  malice :  then  must  you  speak 
Of  one  that  loved  not  wisely  but  too  well  ; 
Of  one  not  easily  jealous,  but,  being  wrought, 
Perplex'd  in  the  extreme ;  of  one  whose  hand', 
Like  the  base  Indian,  threw  a  pearl  away 
Richer  than  all  his  tribe  ;  of  one  whose  subdued  eyes, 
Albeit  unused  to  the  melting  mood. 
Drop  tears  as  fast  as  the  Arabian  trees  350 

Their  medicinal  gum.    Set  you  down  this ; 
And  say  besides,  that  in  Aleppo  once, 
Where  a  malignant  and  a  turban'd  Turk 
Beat  a  Venetian  and  traduced  the  state, 
I  took  by  the  throat  the  circumcised  dog 
And  smote  him,  thus.  [Stabs  himself. 

145 


Act  V.  Sc.  ii.  TRAGEDY  OF  OTHELLO, 

Lod.  O  bloody  period ! 

Gra.  All  that 's  spoke  is  marr'd. 

0th,  I  kiss'd  thee  ere  I  kill'd  thee :   no  way  but  this, 
Killing  myself,  to  die  upon  a  kiss. 

[Falls  on  the  bed,  and  dies. 

Cas.  This  did  I  fear,  but  thought  he  had  no  weapon ;   360 
For  he  was  great  of  heart. 

Lod.  [To  lago]  O  Spartan  dog, 

More  fell  than  anguish,  hunger,  or  the  sea ! 
Look  on  the  tragic  loading  of  this  bed ; 
This  is  thy  work:  the  object  poisons  sight; 
Let  it  be  hid.    Gratiano,  keep  the  house. 
And  seize  upon  the  fortunes  of  the  Moor, 
For  th^y  succeed  on  you.    To  you,  lord  governor, 
Remains  the  censure  of  this  hellish  villain. 
The  time,  the  place,  the  torture :  O,  enforce  it ! 
Myself  will  straight  aboard,  and  to  the  state  370 

This  heavy  act  with  heavy  heart  relate.        [Exeunt. 


T1.6 


THE  MOOR  OF  VENICE 


Glossary, 


Abhor;  "it  doth  a.  me,"  it  is 

abhorrent  to  me ;   IV.  ii.  162. 
About,  out;  I.  ii.  46. 
Abuse,  deceive;  I.  iii.  401. 
Abused,  deceived;  I.  i.  174. 
Abuser,  corrupter ;  I.  ii.  78. 
Achieved,  won ;  II.  i.  61. 
Acknown     on't,     confess     any 

knowledge  of  it;   III.  iii.  319. 
Act,   action,   working;    III.   iii. 

328. 
Action,  accusation  ;  I.  iii.  70. 
Addiction,  inclination  ;   II.  ii.  6. 
Addition,  honour;  III.  iv.  194. 
Advantage;    "in   the    best   a.," 

at   the   most    favourable   op- 
portunity; I.  iii.  298. 
Advised,  careful ;  I.  ii.  55. 
Advocation,  advocacy;   III.  iv. 

123. 
AiHned,  bound  by  any  tie ;  I.  i. 

39- 
Affinity,    connexions;    III.  i.  49. 
Agnize,  confess  with  pride;  I. 

iii.  232. 
Aim,  conjecture;  I.  iii.  6. 
All  in  all,  wholly,  altogether; 

IV.  i.  89. 
Allowance ;  "and  your  a.,"  and 

has  your  permission  ;  I.  i.  128. 
Allowed,  acknowledged;  I.  iii. 

224. 
All's  one,  very  well;  IV.  iii.  23. 
Ahnain,  German  ;  II.  iii.  86. 
A  n  c  i  e  n  t,   ensign  (Folio  i, 

"  Auntient")  ;  I.  i.  33. 


Anthropophagi,  cannibals 
(Quartos,  "A  n  t  h  r  0  p  0- 
phagie";  Folio  i,  "  Antropo- 
phague ")  ;  I.'  iii.  144.  For 
'  men  whose  heads  do  grow 
beneath  their  shoulders.'  Cp. 
illustration. 


From  Kuchlein's  illustrations  of  the 
lourney  held  at  Stuttgart,  1609. 

Antres,  caverns  ;  I.  iii.  140. 
Apart,  aside;  II.  iii.  391. 
Approve,  prove,  justify;  II.  iii. 

,  love,  adore ;  IV.  iii.  19. 

Approved,  proved  to  have  been 

involved;  II.  iii.  211. 
Apt,  natural ;  II.  i.  295. 
Arraigning,   accusing;    III.    iv. 

152. 
Arrivance,  arrival  (Folios, ''^4 r- 

rivancy"  or  "Arrivancie"); 

II.  i.  42. 


147 


Glossary 


TRAGEDY  OF  OTHELLO. 


As,  as  if;  III.  iii.  77- 

Aspics,  venomous  snakes ;   III. 

iii.  450. 
Assay,  a  test;  I.  iii.  18. 

,  try;  11.  i.  121. 

Assure   thee,  be   assured;    III. 

iii.  20. 
At,  on  ;  I.  ii.  42. 
Atone,  reconcile;  IV.  i.  236. 
Attach,  arrest ;  I.  ii.  77. 
Attend,  await ;  III.  iii.  281. 

Bauble,  fool  (used  contemptu- 
ously) ;  IV.  i.  137. 

Bear,  the  Constellation  so 
called;  II.  iyi4. 

Bear  out,  get  the  better  of;  II. 
i.  19. 

Beer;  "  small  beer,"  small  ac- 
counts, trifles  ;  II.  i.  161. 

Be-lee'd,  placed  on  the  lee 
(Quarto  i,  "he  led");  I.  i. 
30. 

Beshrew  me,  a  mild  assevera- 
tion; III.  iv.  150. 

Besort,  what  is  becoming ;  I.  iii. 

239- 

Best;  "  were  b.,"  had  better ;  I. 
ii.  30. 

Bestozv,  place ;  III.  i.  56. 

Betimes,  early ;  I.  iii.  383. 

Bid  "  good  morrow,"  alluding 
to  the  custom  of  friends  bid- 
ding good-morroiij  by  sere- 
nading a  newly  married 
couple  on  the  morning  after 
their  marriage  ;  III.  i.  2. 

Birdlime,  lime  to  catch  birds ; 
II.  i.  127. 

Black,  opposed  to  "fair";  III. 
iii.  263. 


Blank,  the  white  mark  in  the 
centre  of  the  butt,  the  aim; 

III.  iv.  128. 

Blazoning,  praising  ;  II.  i.  63. 
Blood,   anger,   passion ;    II.    iii. 

205. 
Blozvn,  empty,  puffed  out ;  III. 

iii.  182. 
Bohb'd,  got  cunningly;  V.  i.  16. 
Boding,    foreboding,    ominous; 

IV.  i.  22. 

Bootless,  profitless ;  I.  iii.  209. 

Brace,  state  of  defence  (prop- 
erly, armour  to  protect  the 
arm)  ;  I.  iii.  24. 

Brave,  defy  ;  V.  ii.  326. 

Bravery,  bravado,  defiance ;  I. 
i.  100. 

Bring  on  the  ivay,  accompany ; 
III.  iv.  197. 

Bulk,  the  projecting  part  of  a 
shop  on  which  goods  were 
exposed  for  sale  ;  V.  i.  i. 

Butt,  goal,  limit ;  V.  ii.  267. 

By,  aside ;  V.  ii.  30. 

,  "  how  you  say  by,"  what 

say  you  to;  I.  iii.  17. 

By  and  by,  presently;  II.  iii. 
309. 

Cable;  "give  him  c./'  give  him 
scope;  I.  ii.  17. 

Caitiff,  thing,  wretch;  a  term 
of  endearment ;  IV.  i.  109. 

Callet,  a  low  woman;  IV.  ii. 
121. 

Calm'd,  becalmed,  kept  from 
motion  ;  I.  i.  30. 

Canakin,  little  can;  II.  iii.  71. 

Cannibals;  I.  iii.  I43-  Cp.  il- 
lustration. 

Capable,  ample;  III.  iii.  459. 


148 


THE  MOOR  OF  VENICE 


Glossary 


From  a  rare  old  broadside  depicting 
the  habits  of  the  aboriginal  Mexicans. 

Carack,  large  ship,  galleon;   I. 

ii.  50. 
Caroused,  drunk;  II.  iii.  55. 
Carve  for,  indulge    (Quarto   i, 

"  carve  forth  ")  ;  II.  iii.  173. 
Case,     matter      (Folios, 

"  cause  ")  ;  III.  iii.  4. 
Cast,  dismissed,  degraded  from 

office ;  V.  ii.  327. 
Censure,  judgement ;  II.  iii. 

,  opinion  ;  IV.  i.  273. 

Certes,  certainly  ;  I.  i.  16. 
Chair;   "  a  chair,   to  bear 

easily  hence  " ;  V.  i.  82. 

illustration. 


193- 


him 
Cp. 


From  a  plate  in  Sandy's  Travels  (1621 V 
depicting  a  sick  person  carried  to 
the  sulpnur-baths  at  Pozzuoli,  near 
Naples. 

Challenge,   claim;   I.  iii.  188. 


Chamhcrers,  effeminate  men; 
III.  iii.  265. 

Chances,  events  ;  I.  iii.  134. 

Charm,  make  silent,  restrain ; 
V.  ii.  183. 

CJiarnicr,  enchantress,  sorcer- 
ess ;  III.  iv.  57. 

Cherubin,  cherub;  IV.  ii.  62. 

Chidden,  chiding,  making  an 
incessant  noise  ;  II.  i.  12. 

Chide,  quarrel ;  IV.  ii.  167. 

Chuck,  a  term  of  endearment ; 

III.  iv.  49. 
Circumscription,     restraint;     I. 

ii.  27. 
Circumstance,    circumlocution ; 

I.  i.  13. 

,    appurtenances ;    III.    iii. 

354- 
Circumstanced,     give     way     to 

circumstances;  III.  iv.  201. 
Civil,  civilised;  IV.  i.  65. 
Clean,    entirely,    altogether ;    I. 

iii.  366. 
Clime,  country;  III.  iii.  230. 
Clip,  embrace  ;  III.  iii.  464. 
Clog,  encumber  (Folios  i,  2,  3. 

"  enclogge  ")  ;  II.  i.  70. 
Close,  secret ;  III.  iii.  123. 
Close   as   oak  =  "  close   as   the 

grain  of  oak  "  ;  III.  iii.  210. 
Clyster-pipes,    tubes    used    fon* 

injection  ;  II.  i,  179. 
Coat,  coat  of  mail ;  V.  i.  25. 
Cogging,    deceiving    by    lying; 

IV.  ii.  132. 

C allied,    blackened,    darkened ; 

II.  iii.  204, 

Coloquintida,  colocynth,  or  bit- 
ter apple;  I.  iii.  355. 
Commoner,  harlot ;  IV.  ii.  72, 


149 


Glossary 


TRAGEDY  OF  OTHELLO. 


Companions,  fellows  (used 
contemptuously)  ;    IV.  ii.  141. 

Compasses,  annual  circuits ; 
III.iv.71. 

Compliment  extern,  external 
shov*' ;  I.  i.  63. 

Composition,  consistency;  I. 
iii.  I. 

Compt,  reckoning,  day  of  reck- 
oning; V.  ii.  273. 

Conceit,  idea;  thought  (Quarto 

I,  "connsell");    III.  iii.  115. 
Conceits,     conceives,      judges; 

III.  iii.  149. 
Condition,  temper,  disposition ; 

II.  i.  255. 

Confine,  limit ;  I.  ii.  27. 

Conjunctive,  closely  united 
(Quarto  i,  "  communica- 
tiue " ;  Quarto  2,  "  conjec- 
tiue")  ;  I.  iii.  375. 

Conjured,  charmed  by  incanta- 
tions; I.  iii.  105. 

Conscionable,  conscientious ; 
II.  i.  242. 

Consent  in,  plan  together;  V. 
ii.  297. 

Consequence,  that  which  fol- 
lows or  results  ;  II.  iii.  64. 

Conserved,  preserved  (Quarto 
I,  "  conserues"  \  Quarto  2, 
"  concerue")  ;  III.  iv.  75. 

Consuls,  senators  (Theobald, 
"  Couns'lers  "  ;  H  a  n  m  e  r, 
"counsel")  ;  I.  ii.  43. 

Content,  joy;  II.  i.  185. 

,  satisfy,  reward;  III.  i.  i. 

Content  you,  be  satisfied,  be 
easy;  I.  i.  41. 

Continuate,  continual,  uninter- 
rupted (Quarto  i,  "'  conuen- 
icnt")  ;  Ill.iv.  178. 


Contrived,  plotted,  deliberate; 
I.  ii.  3- 

Conveniences,  comforts;  IT.  i, 
234- 

Converse,  conversation ;  III.  i. 
40. 

Cope,  meet ;  IV.  i.  87. 

Corrigible,  corrective ;  I.  iii. 
329. 

Counsellor,  prater  (Theobald, 
"  censurer  ")  ;  II.  i.  165. 

C  0  un  t  e  r-castcr,  accountant 
(used  contemptuously)  ;  I.  i. 
31- 

Course,  proceeding  (Quarto  i. 
"  cause")  ;  II.  i.  275. 

,  run  (Quarto  i,  "  make")  ; 

III.iv.71. 

Court  and  guard  of  safety, 
"  very  spot  and  guarding 
place  of  safety "  (Theobald, 
"  court  of  guard  and  safe- 
ty"); II.  iii.  216. 

Court  of  guard,  the  main 
guardhouse  ;  II.  i.  220. 

Courtship,  civility,  elegance  of 
manners  (Quarto  i,  ''courte- 
sies") ;  II.  i.  171. 

Coxcomb,  fool ;  V.  ii.  233. 

Cozening,  cheating  ;  IV.  ii.  132. 

Crack,  breach  ;  II.  iii.  330. 

Creation,  nature  ;  II.  i.  64. 

Cries  on,  cries  out  (Folios  2,3, 
4,  "  cries  out")  ;  V.  i.  48. 

Critical,  censorious ;  II.  i.  120. 

Crusadoes,  Portuguese  gold 
coins ;  so  called  from  the 
cross  on  them  (worth  be- 
tween six  and  seven  shil- 
lings) ;  III.  iv.  26.  Cp.  illus- 
tration. 


150 


THE  MOOR  OF  VENICE 


Glossary 


From  an  engraving  by  Fairho  t. 

Cry,   pack    of    hounds ;    II.    iii. 

370. 
Cunning,    knowledge;    III.    iii. 

49. 

Curled,  having  hair  formed  into 
ringlets,  Jience  affected,  fop- 
pish ;  I.  ii.  68. 

Customer,  harlot ;  IV.  i.  112. 

Daffcf,  dost  put  off  (Collier, 
"  d  a  ff  '  .s'  t  "  ;  Quartos, 
"  dofftst  "  ;  Folio  i\"  dafts  ")  ; 
IV.  ii.  175- 

Danger;  "  hurt  to  danger,'' 
dangerously  hurt,  wounded ; 
II.  iii.  197. 

Darlings,  favourites  ;  I.  ii.  68. 

Daws,  jack-daws  ;  1.  i.  65. 

Dear,  deeply  felt ;  I.  iii.  260. 

Dearest,  most  zealous;  I.  iii.  85. 

Debitor  and  creditor,  "  the  title 
of  certain  ancient  treatises  on 
book-keeping  here  used  as  a 
nick-name "  (Clarke)  ;  I.  i. 
.V. 

Defeat,  destroy;  IV.  ii.  160. 

,  disfigure;  I.  iii.  346. 

Defend,  forbid;  I.  iii.  267. 

Delations,  accusations;  III.  iii. 
123. 

Pelighted,  delightful ;  I.  iii.  290. 

Deliver,  say,  relate;   II.  iii.  217. 

Demand,  ask;  V.  ii.  301. 

Demerits,  merits;  I.  ii.  22. 


Demonstrable,  "made  d.," 
demonstrated,  revealed;  III. 
iv.  142. 

Denotement,   denoting;    II.    iii. 

323- 
Deputing,    substituting ;    IV.    i. 

248. 
Designment,  design  ;  II.  i.  22. 
Desired ;  "  well  d.,"  well  loved, 

a  favourite ;  II,  i.  206. 
Despite,     contempt,     aversion ; 

IV.ii.  116. 
Determinate,    decisive ;    W .    ii. 

232. 
Devesting,     divesting;     II.     iii. 

179 

Diablo,  the  Devil ;  II.  iii.  161. 

Diet,  feed;  II.  i.  302. 

Dilate,  relate  in  detail,  at 
length;  I.  iii.  153. 

Directly,  in  a  direct  straightfor- 
ward way  ;  IV.  ii.  210. 

Discontented,  full  of  dissatis- 
faction ;   V.  ii.  314. 

Discourse  of  thought,  faculty  of 
thinking,  range  of  thought ; 
IV.ii.  153- 

Dislikes,  displeases;  II.  iii.  49. 

Displeasure ;  "  your  d.,"  the 
disfavour  you  have  incurred ; 
III.  i.  45. 

Disports,  sports,  pastimes;  I. 
iii.  272. 

Dispose,  disposition  ;   I.  iii.  403. 

Disprove,  refute ;  V.  ii.  172. 

Disputed  on,  argued,  investi- 
gated; I.  ii.  75. 

Distaste,  be  distasteful ;  III.  iii. 

327- 
Division,  arrangement ;    I.  i.  23. 
Do,  act ;  I.  iii.  395. 
Dotage,  affection  for ;  IV.  i.  27. 


151 


Glossary 


TRAGEDY  OF  OTHELLO. 


Double,  of  two-fold  influence ; 
I.  ii.  14. 

Double  set,  go  twice  round ;  II. 
iii.  135- 

Doubt,  suspicion  ;  III.  iii.  188. 

,  fear;  III.  iii.  19. 

Dream,  expectation,  anticipa- 
tion ;  II.  iii.  64. 

Ecstacy,  swoon  ;  IV.  i.  80. 
Elements,  a   pure   extract,   the 

quintessence  ;  II.  iii.  59. 
Embay' d,    land-locked;     II.     i. 

18. 
Encave,    hide,    conceal ;    IV.    i. 

82. 
Enchafed,  chafed,  angry;   II.  i. 

17- 
Engage,  pledge ;  III.  iii.  462. 
Engines,  devices,   contrivances, 

(?)    instruments  of  torture; 

IV.  ii.  219. 

Engluts,  engulfs,  swallows  up ; 
I.  iii.  57. 

Enshelter'd,  sheltered ;  II.  i.  18. 

Ensteep'd,  steeped,  lying  con- 
cealed under  water    (Quarto 

I,  "  enscerped  ")  ;  II.  i.  70. 
Entertainment,     re-engagement 

in  the  service;  III.  iii.  250. 
Enzi'heel,  encompass,  surround; 

II.  i.  87. 

Equinox,    counterpart;    II.    iii. 

129. 
Erring,  wandering;  III.  iii.  227. 
Error,    deviation,    irregularity ; 

V.  ii.  109. 

Escape,     escapade,     wanton 

freak;  I.  iii.  197. 
Essential,  real ;  II.  i.  64. 
Estimation,    reputation ;    I.    iii. 

27$' 


Eternal,  damned  (used  to  ex- 
press abhorrence)  ;  IV.  ii. 
130. 

Ever-fixed,  fixed  for  ever 
(Quartos,  "  ever-Hred")  ;  II. 

i.  15. 
Execute,   to   wreak   anger;    II. 

iii.  228. 
Execution,    working;     III.     iii. 

466. 
Exercise,     religious     exercise ; 

III.  iv.  41. 
Exhibition,    allowance;    I.    iii. 

Expert,  experienced;  II.  iii.  82. 

Expert  and  approved  allozv- 
ance,  acknowledged  and 
proved  ability  ;  II.  i.  49. 

ExsuMicate,  inflated,  unsub- 
stantial; (Quartos,  Folios  i, 
2,  3,  "  cxiMicate  "  ;  Folio  4. 
"  exsumicatcd")  ;  III.  iii. 
182. 

Extern,  eternal ;  I.  i.  63. 

Extincted,  extinct  (Folios  3,4, 
"  extinctest  "  ;  Rowe,  "ex- 
tinguished ")  ;  II.  i.  81. 

Extravagant,  vagrant,  wander- 
ing; Li.  137. 

Facile,  easy;  I.  iii.  23. 
Falls,  lets  fall ;  IV.  i.  248. 
Fantasy,  fancy;  III.  iii.  299. 
Fashion,  conventional  custom ; 

II.  i.  208. 
Fast,  faithfully  devoted;  I.  iii. 

369. 
Fathom,   reach,   capacity;    I.    i. 

153- 

Favour,  countenance,  appear- 
ance ;  III.  iv.  125. 

Fearful,  full  of  fear ;  I.  iii,  12. 


152 


THE  MOOR  OF  VENICE 


Glossary 


Fell,  cruel ;  V.  ii.  362. 

Filches,  pilfers,  steals ;  III.  iii. 
159- 

Filth,  used  contemptuously;  V. 
ii.  231. 

Fineless,  without  limit,  bound- 
less; III.  iii.  173. 

Fitchew,  pole-cat  (used  con- 
temptuously) ;  IV.  i.  150. 

Fits,  befits;  III.  iv.  150. 

Fleers,  sneers  ;  IV.  i.  83. 

Flood,  sea ;  I.  iii.  135. 

Flood-gate,  rushing,  impetu- 
ous ;  I.  iii.  56. 

Folly,  unchastity ;  V.  ii.  132. 

Fond,  foolish;  I.  iii.  320. 

Fopped,  befooled,  duped ;  IV.  ii. 

195. 
For,      because      (Folios, 

"  zvhen  ")  ;  I.  iii.  269. 
Forbear,  spare;  I.  ii.  10. 
Fordoes,  destroys ;  V.  i.  129. 
Forfend,  forbid;  V.  ii.  32. 
Forgot;  "  are  thus  f.,"  have  so 

forgotten  yourself  ;  II.  iii.  188. 
Forms    and    visages,    external 

show,    outward    appearance ; 

1.  i.  50. 

Forth  of,  forth  from,  out  of 
(Folio   I,  "For  of";   Folios 

2.  3,  4,  "For  off")  ;  V.  i.  35- 
Fortitude,  strength;  I.  iii.  222. 
Fortune,   chance,   accident ;    V. 

ii.  226. 
Framed,   moulded,    formed ;    I. 

iii.  404. 
Fraught,   freight,    burden ;    III. 

iii.  449. 
Free,  innocent,  free  from  guilt ; 

III.  iii.  255. 

,  liberal ;  I.  iii.  266. 

Frights,  terrifies;  II.  iii.  175. 


Frise,  a  kind  of  coarse  woollen 
stuff;  II.  i.  127. 

From,  contrary  to ;  I.  i.   132. 

Fruitful,  generous ;  II.  iii.  347. 

Full,  perfect ;  II.  i.  36. 

Function,  exercise  of  the  facul- 
ties;  II.  iii.  354. 

Fustian;  "  discourse  f.,"  talk 
rubbish ;  II.  iii.  282. 

Galls,     rancour,     bitterness     of 

mind ;   IV.  iii.  93. 
Garb,    fashion,    manner ;    II.    i. 

314- 

Garner' d,  treasured;  IV.  ii.  57. 

Gastness,  ghastliness  (Quar- 
tos I,  2,  "  ieastures" ;  Quar- 
to 3,  "  jestures" ;  Quarto 
1687,  ""  gestures  "  ;  Knight, 
"  ghastness")  ;  V.  i.   106. 

Gender,  kind,  sort ;  I.  iii.  326. 

Generous,  noble;  III.  iii.  280. 

Give  azvay,  give  up;  III.  iii.  28. 

Government,  self-control ;  III. 
iii.  256. 

Gradation,  order  of  promotion ; 
I.  i.  2>7- 

Grange,  a  solitary  farm-house ; 
I.  i.  106. 

Green,  raw,  inexperienced;  II. 
i.  251. 

Grise,  step ;  I.  iii.  200. 

Gross  in  sense,  palpable  to  rea- 
son ;  I.  ii.  y2. 

Guardage,  guardianship ;  I.  ii. 
70. 

Guards,  guardians  ("alluding 
to  the  star  Arctophylax," 
Johnson)  ;  II.  i.  15. 

Guinea-hen,  a  term  of  con- 
tempt for  a  woman ;  I.  iii. 
317. 


153 


Glossary 


TRAGEDY  OF  OTHELLO. 


Gyve,  fetter,  ensnare;  II.  i.  171. 

Habits,    appearances,    outward 

show ;  I.  iii.  108. 
Haggard,    an     untrained    wild 

hawk;  III.  iii.  260. 
Hales,  hauls,  draws;  IV.  i.  141. 
Haply,  perhaps;  II.  i.  279. 
Happ'd,     happened,     occurred ; 

V.  i.  127. 
Happiness,  good  luck;   III.  iv. 

108. 
Happy;    "  in    h.    time,"    at   the 

right  moment;  III.  i.  32. 
Hard   at    hand,   close   at   hand 

(Quartos,  "hand  at  hand")  ; 

II.  i.  268. 

Hardness,  hardship  ;  I.  iii.  234. 

Hast-posthaste,  very  great 
haste ;  I.  ii.  37. 

Have  with  you,  I  '11  go  with 
you;  I.  ii.  53- 

Having,  allowance  (?)  "pin- 
money  "  ;  IV.  iii.  92. 

Hearted,   seated   in  the   heart; 

III.  iii.  448. 
Heavy,  sad;  V.  ii.  371. 

;    "  a    h.    night,"    a    thick 

cloudy  night ;  V.  i.  42. 
Heat,  urgency;  I.  ii.  40. 
Helm,  helmet;  I.  iii.  273. 
Herself,  itself;  I.  iii.  96. 
Hie,  hasten  ;  IV.  iii.  50. 
High  suppertime,  high  time  for 

supper ;  IV.  ii.  245-6. 
Hint,  subject,  theme;  I.  iii.  142. 
Hip;   "have  on  the  h.,"  catch 

at  an  advantage    (a  term  in 

wrestling)  ;  II.  i.  314. 
Hold,   make   to   linger;    V.    ii. 

334- 
Home,  to  the  point ;  II.  i.  166. 


Honestly,  becoming;  IV.  i.  288. 
Honey,   sweetheart ;   II.   i.  206. 
Horologe,  clock;  II.  iii.  130. 
Houseivife,  hussy ;  IV.  i.  95. 
Htmgerly,    hungrily;     III.    iv. 

105. 
Hurt;    "to    be   h.,"    to   endure 

being  hurt;  V.  ii.  163. 
Hydra,    the    fabulous    monster 

with  many  heads ;  II.  iii.  308. 

Ice-brook's  temper,  i.e.  a  sword 
tempered  in  the  frozen 
brook;  alluding  to  the  an- 
cient Spanish  custom  of 
hardening  steel  by  plunging 
red-hot  in  the  rivulet  Salo 
near  Bilbilis ;  V.  ii.  252. 

Idle,  barren ;   I.  iii.  140. 

Idleness,  unproductiveness, 
want  of  cultivation ;  I.  iii. 
328. 

Import,  importance ;  III.  iii. 
316. 

Importancy,  importance ;  I.  iii. 
20. 

In,  on ;  I.  i.  137. 

Inclining,  favourably  disposed; 
II.  iii.  346. 

Incontinent,  immediately:  lY . 
ii.  12. 

Incontinently,  immediately;  I. 
iii.  306. 

Index,   introduction,   prologue  : 

II.  i.  263. 

Indign,  unworthy;  I.  iii.  274. 

Indues,  affects,  makes  sensi- 
tive; (Quarto  3,  "endures" ; 
Johnson    conj.    "subdues")  ; 

III.  iv.  146. 

In^ener,  inventor  (of  praises)  ; 

ii.  i.  65. 


154 


THE  MOOR  OF  VENICE 


Glossary 


hifiraft,  ingrafted ;   II.  iii.    145. 

Inhibited,  prohibited,  forbid- 
den ;  I.  ii.  79. 

In  jointed  them,  joined  them- 
selves ;  I.  iii.  35. 

Injuries;  "  in  your  i.,"  while 
doing  injuries;  II.  i.  112. 

Inordinate,      immoderate;      II. 

iii.  311- 

Intendment,  intention;  IV.  ii. 
203. 

Intentively,  with  unbroken  at- 
tention (Folio  I,  "  instinctiue- 
ly  "  :  Folios  2,  3,  4,  "  distinc- 
tively" \  Gould  conj.  "  con- 
nectively  ")  ;  I.  iii.  155. 

Invention,  mental  activity;  IV. 
i.  195. 

Issues,  conclusions  ;  III.  iii.  219. 

Iteration,  repetition;  V.  ii.  150. 

Janus,  the  two-headed  Roman 
God ;  I.  ii.  23- 

I  esses,  straps  of  leather  or  silk, 
with  which  hawks  were  tied 
by  the  leg  for  the  falconer 
to  hold  her  by;  III.  iii.  261. 
Cp.  illustration. 


From  an  engraving  of  the  year  1593. 


Joint-ring,  a  ring  with  joints 
in  it,  consisting  of  two 
halves ;  a  lover's  token ;  IV. 
iii.  JZ'     Cp'  illustration. 


From  a  woodcut  by  Fairholt. 

Jump,  exactly;  II.  iii.  392. 

,  agree ;  I.  iii.  5. 

Just,  exact;  I.  iii.  5. 
Justly,  truly  and  faithfully ;   I. 
iii.  124. 

Keep  up,  put  up,  do  not  draw ; 
I.  ii.  59- 

Knave,  servant ;   I.  i.  45. 

Knee-crooking,  fawning,  ob- 
sequious ;  I.  i.  45. 

Know  of,  learn  from,  find  out 
from;  V.  i.  117. 

Lack,  miss;  III.  iii.  318. 

Law-days,  court-days ;  III.  iii. 
140. 

Leagued,  connected  in  friend- 
ship (Quartos,  Folios, 
"league")  ;  II.  iii.  218. 

Learn,  teach ;  I.  iii.  183. 

Learned,    intelligent ;    III.    iii. 

259. 

Lcets,  days  on  which  courts  are 
held;  III.  iii.  140. 

Levels,  is  in  keeping,  is  suit- 
able ;  I.  iii.  240. 

Liberal,  free,  wanton;  II.  i.  165. 


155 


Glossary 


TRAGEDY  OF  OTHELLO. 


Lies,  resides;  III.  iv,  2, 

Like,  equal ;  II.  i.  16. 

Lingered,  prolonged;  IV.  ii. 
228. 

List,  boundary  ;  "  patient  1.,"  the 
bounds  of  patience ;  IV.  i.  76. 

,  inclination  (Folios.  Quar- 
tos 2,  3,  "  leaue")  ;  II.  i.  105, 

,  listen  to,  hear ;  II.  i.  219 

Living,  real,  valid;  III.  iii.  409, 

Lost,  groundless,  vain ;  V.  ii, 
269, 

Lown,  lout,  stupid,  blockhead 
II.  iii.  95. 

Magniiico,    a    title    given   to    a 

Venetian  grandee ;  I.  ii.  12. 
Maidhood,   maidenhood ;     I.    i. 

173. 

Main,  sea,  ocean;  II.  i.  3. 

Make  away,  get  away;  V.  i.  58. 

Makes,  does ;  I.  ii.  49. 

Manunering,  hesitating  (Fo- 
lios, Quartos  2,  3,  "  mam'- 
ring" ',  Quarto  i,  "  mutter- 
'i^ig  "  ;  Johnson,  "  mummer- 
ing  ")  ;  III.  iii.  70. 

Man,  wield;  V.  ii.  270. 

Manage,  set  on  foot ;    II.  iii.  215. 

Mandragora,  mandrake,  a  plant 
supposed  to  induce  sleep  ;  III. 
iii.  330. 

Mane,  crest ;  II.  i.  13. 

Manifest,  reveal :   I.  ii.  32. 

Marble,  (?)  everlasting;  III. 
iii.  460. 

Mass;  "  by  the  mass,"  an  oath 
(Folios  I,  2,  3,  "Introth''; 
Folio  4,  "In  troth")  ;  II.  iii. 

384. 
Master,  captain;  II.  i.  211. 
May,  can;  V.  i.  78. 


Maasai'd,  head;  II.  iii.  155. 

Me;  "  whip  me,"  whip  (me 
ethic  dative)  ;  I.  i.  49. 

Mean,  means;  III.  i.  39. 

Meet,  seemly,  becoming ;  I.  i. 
146. 

Mere,  utter,  absolute  ;  II.  ii.  3. 

Minion,  a  spoilt  darling ;  V.  i. 
33. 

Mischance,  misfortune;  V.  1. 
38. 

Mock,  ridicule;  I.  ii.  69. 

Modern,  common-place ;  I.  iii. 
109. 

Moe,  more ;  IV.  iii.  57. 

Molestation,  disturbance ;  II.  i. 
16. 

Monstrous  (trisyllabic)  (Ca- 
pell,  "  monsterous")  ;  II.  iii. 
217. 

Moons,  months ;  I.  iii.  84. 

Mo  or  ship's  (formed  on  analo- 
gy of  worship ;  Quarto  i 
reads  "  Worship's  ")  ;  I.  i.  2>Z- 

Moraler,  moralizer;  II.  iii.  301. 

Mortal,  deadly ;  II.  i.  72. 

,  fatal ;  V.  ii.  205. 

Mortise,  "  a  hole  made  in  tim- 
ber to  receive  the  tenon  of 
another  piece  of  timber ;   II. 

i-  9. 
Moth,   "an  idle   eater";   I.   iii. 

257- 

Motion,  impulse,  emotion;  I. 
iii.  95. 

,  natural  impulse;  I.  ii.  75. 

Mountebanks,  quacks:  I.  iii.  61. 

Mummy,  a  preparation  used 
for  magical — as  well  as  me- 
dicinal— purposes,  made  orig- 
inally from  mummies;  III. 
iv.  74. 


156 


THE  MOOR  OF  VENICE 


Glossary 


Mutualities,  familiarities;  11.  i. 

266. 
Mystery,  trade  craft ;  IV.  ii.  30. 

Naked,  unarmed ;  V.  ii.  258. 
Napkin,  handkerchief;   III.  iii. 

287. 
Native,  natural,  real ;  I.  i.  62. 
New,        fresh        (Quartos, 

"  more")  ;  I.  iii.  205. 
Next,  nearest ;  I.  iii.  205. 
North,  north  wind ;  V.  ii.  220. 
Notorious,   notable,   egregious ; 

IV.  ii.  140. 
Nuptial,      wedding      (Quartos, 

"Ntiptialls");  II.  ii.  8. 

Obscure,  abstruse ;  II.  i.  263. 
Ohservancy,    homage;    III.    iv. 

149. 
Odd-even,  probably  the  interval 

between     twelve     o'clock     at 

night  and  one  o'clock  in  the 

morning;  I.  i.  124. 
Odds,  quarrel ;  II.  iii.  185. 
Off,  away;  V.  ii.  331. 
Off-capp'd,    doffed    their    caps, 

saluted        (Quartos,       "oft 

capt")  ;  I.  i.  10. 
Offends,   hurts,    pains ;    II.    iii. 

199- 

Office,  duty  (Quarto  i, 
"duty")  ;  III.  iv.  113. 

OfHced,  having  a  special  func- 
tion ;  I.  iii.  271. 

Offices,  domestic  offices,  where 
food  and  drink  were  kept ;  II. 
ii.  9. 

Old,  time-honoured  system ;  I. 
i.  37- 

On,  at ;  II.  iii.  132. 

On't,  of  it;  II.  i.  30. 


Opinion,   public  opinion,   repu- 
tation ;  II.  iii.  196. 
Opposite,  opposed ;  I.  ii.  67. 
Other,  otherwise;  IV.  ii.  13. 
Ottomites,     Ottomans;     I.     iii. 

33- 
Out-tongue,  bear   down;    I.   ii. 

19. 
Overt;  "  o.  test,"  open  proofs ; 

I.  iii.   107. 
Owe,  own ;  I.  i.  66. 
Oivcdst,  didst  own ;  III.  iii.  2,33- 

Paddle,  play,  toy;  II.  i.  259. 
Pageant,  show,  pretence  ;  I.  iii. 

18. 
Paragons,  excels,  surpasses  ;  II. 

i.  62. 
Parcels,  parts,  portions ;    I.   iii. 

154. 
Partially,    with    undue    favour 

(Qq-.    "partiality'');    II.    iii. 

218. 
Parts,  gifts;  III.  iii.  264. 
Passage,  people  passing;  V.  i. 

37-^ 
Passing,     surpassingly;     I.     iii. 

160. 
Patent,  privilege;  IV.  i.  203. 
Patience    (trisyllabic)  ;    II.    iii. 

376. 
Peculiar,  personal ;   III.  iii.  79. 
Peevish,  childish,  silly;   II.  iii. 

185. 
Pegs,  "  the  pins  of  an  instru- 
ment on  which  the  strings  are 

fastened  "  ;  II.  i.  202. 
Perdurable,  durable,  lasting ;  I. 

iii;  343- 
Period,  ending ;  V.  ii.  357. 
Pestilence,  poison ;  II.  iii.  362. 
Pierced,  penetrated;  I.  iii.  219. 


157 


Glossary 


TRAGEDY  OF  OTHELLO. 


Pioners,  pioneers,  the  common- 
est soldiers,  employed  for 
rough,  hard  work,  such  as 
levelling  roads,  forming 
mines,  etc. ;  III.  iii.  346. 

Plcasancc,  pleasure  (Quartos, 
"  pleasure  ")  ;   II.  iii.  293. 

Pliant,  convenient;  I.  iii.  151. 

Plume  up,  make  to  triumph 
(Quarto  i,  "make  up");  I. 
iii.  398. 

Poise,  weight ;  III.  iii.  82. 

Pontic  sea,  Euxine  or  Black 
Sea ;  III.  iii.  453. 

Portance,  conduct ;  I.  iii.  139. 

Position,  positive  assertion ; 
III.  iii.  234. 

Post-post-haste,  very  great 
haste ;  I.  iii.  46. 

Pottle-deep,  to  the  bottom  of 
the  tankard,  a  measure  of 
two  quarts ;  II.  iii.  56. 

Practice,  plotting;  III.  iv.  141. 

Precious,  used  ironically 
(Quartos  2,  3,  "  perni- 
tious")  ;  V.  ii.  235. 

Prefer,  promote ;  II.  i.  286. 

,  show,  present ;  I.  iii.  109. 

Preferment,    promotion ;    I.    i. 

Pregnant,  probable;   II.   i.  239. 
Presently,   immediately ;    III.   i. 

38. 
Prick'd,   incited,    spurred ;    III. 

iii.  412. 
Probal,    probable,     reasonable ; 

II.  iii.  344. 
Probation,  proof;   III.  iii.  365. 
Profane,  coarse,  irreverent ;  II. 

i.  165. 
ProfA,  profitable  lesson ;  III.  iii. 

379. 


Proof ;  "  make  p.,"  test,  make 
trial ;  V.  i.  26. 

Proper,  own ;  I.  iii.  69. 

,  handsome ;  I.  iii.  ^gy. 

Propontic,  the  Sea  of  Mar- 
mora; III.  iii.  456. 

Propose,  speak ;  I.  i.  25. 

Propriety ;  "  from  her  p.,"  out 
of  herself;  II.  iii.  176. 

Prosperity,  success ;  II.  i.  287. 

Prosperous,  propitious ;  I.  iii. 
245- 

Puddled,  muddled;  III.  iv.  143. 

Purse,  wrinkle,  frown ;  III.  iii. 

113. 
Purse   .    .    .   strings;  I.  i.  2,  3. 
Cp.  illustration. 


From  the  leaden  seal  of  the  Confra- 
ternity of  Purse-makers  (Boursiers) 
of  Paris. 


Put  on,  incite,  instigate ;  II.  iii. 
357. 

Qualitication,  appeasement ;  II. 
i.  281. 

Qualified,  diluted;  II.  iii.  41. 

Quality;  "  very  q.,"  i.e.  very  na- 
ture ;  I.  iii.  252. 

Quarter ;  "  in  q.,"  in  peace, 
friendship;  II.  iii.  180. 


158 


THE  MOOR  OF  VENICE 


Glossary 


Quat,     pistLile,     pimple      (used 

contemptuously)  ;    Quarto    i. 

"gnat";    Theobald,    "knot," 

etc.)  ;  V.  i.  ii. 
Question,  trial  and  decision  by 

force  of  arms ;  L  iii.  23. 
Quests,  bodies  of  searchers;  I. 

ii.  46. 
Quicken,   receive   life;    III.   iii. 

277. 
Quillets,  quibbles ;  III.  i.  25. 
Quirks,  shallow  conceits ;  II.  i. 

63. 

Raised  up,  awakened ;     II.   iii. 

250. 
Rank,  coarse;  II.  i.  314. 
Rank,  lustful   (  ?  morbid)  ;  III. 

iii.  232. 
Recognizance,  token;  V.  ii.  214. 
Reconciliation,     restoration     to 

favour;  III.  iii.  47. 
Reference,  assignment  (Quarto 

I,  "  reuerence" ;  Folios  3,  4, 

"reverence" ',  Johnson  conj. 

"preference")  ;  I.  iii.  238. 
Regard,  view ;  II.  i,  40. 
Region,  part ;  IV.  i.  84. 
Relume,  rekindle ;  V.  ii.  13. 
Remorse,  pity,  compassion;  III. 

iii.  369. 
Remove,  banish;  IV.  ii.  14. 
Repeals,  recalls  to  favour ;   II. 

iii.  363. 
Reprobation,  perdition,  damna- 

tion        (Folios,       "  Repro- 
hance")  ;  V.  ii.  209. 
Reverses,  keeps ;  III.  iii.  295. 
Respect,  notice ;  IV.  ii.  190. 
Re-stem,  retrace;  I.  iii.  37. 
Revolt,    inconstancy;     III.     iii. 

188. 


Rich,  valuable,  precious ;  II.  iii. 

195. 
Roman    (used  ironically)  ;   IV. 

i.  121. 
Round,  straightforward,  plain ; 

I.  iii.  90. 

Rouse,  bumper,   full   measure ; 

II.  iii.  66. 

Rude,  harsh ;  III.  iii.  355. 
RuiHan'd,    been    bois  t  e  r  o  u  s, 
raged ;  II.  i.  7. 

Sadly,  sorrowfully ;  II.  i.  32. 
Safe,  sound ;  IV.  i.  2y2. 
Sagittary,  a  public  building  in 

Venice;  I.  i.  159. 
Salt,  lustful ;  II.  i.  245. 
Sans,  without ;  I.  iii.  64. 
'Sblood,  a  corruption  of  God's 

blood;  an  oath   (the  reading 

of     Quarto     i ;     omitted     in 

others)  ;  I.  i.  4. 
Scant,  neglect ;   I.  iii.  268. 
'Scapes,  escapes ;  I.  iii.  136. 
Scattering,    random;     III.     iii. 

151. 
Scion,  slip,  off-shoot  (Quartos, 

"syen";   Folios,  "  Seyen")  ; 

I.  iii.  337- 
Scored  me,  "  made  my  reckon- 
ing,  settled  the   term   of   my 

life"      (Johnson,     Schmidt). 

"branded     me"      (Steevens, 

Clarke)  ;  IV.  i.  129. 
Scorns,   expressions   of    scorn : 

IV.  i.  83. 
Seamy  side  without,  wrong  side 

out ;  IV.  ii.  146. 
Sect,  cutting,  scion ;  I.  iii.  336. 
Secure,  free  from  care ;   IV.  i. 

72. 


159 


Glossary 


TRAGEDY  OF  OTHELLO, 


Secure  me,  feel  myself  secure; 

I.  iii.  10. 
Seel,  blind    (originally  a  term 

in  falconry)  ;  I.  iii.  270. 
Seeming,  appearance,  exterior ; 

I.  iii.  109. 

,  hypocrisy ;  III.  iii.  209. 

Segregation,   dispersion ;    II.   i. 

10. 
Self-bounty,   inherent  kindness 

and     benevolence ;     III.     iii. 

200. 
Self-charity,    charity    to    one's 

self;  II.  iii.  202. 
Sennight's,     seven     night's,     a 

week's ;  II.  i.  yy. 
Sense,   feeling    (Quartos,   "of- 
fence ")  ;  II.  iii.  268. 
;  "to  the  s.,"  i.e.  "to  the 

quick  ";  V.  i,  11. 
Sequent,  successive;  I.  ii.  41. 
Sequester,    sequestration ;    III. 

iv.  40. 
Sequestration,  rupture,  divorce ; 

I.  iii.  351. 
Shore,  did  cut;  V.  ii.  206. 
Should,  could;  III.  iv.  23. 
Shrewd,  bad,  evil ;  III.  iii.  429. 
Shrift,   shriving  place,    confes- 
sional ;  III.  iii.  24. 
Shut  up  in,  confine  to;  III.  iv. 

121. 
Sibyl,  prophetess  ;  III.  iv.  70. 
Siege,  rank,  place ;  I.  ii.  22. 
Simpleness,    simplicity ;    I.    iii. 

247. 
Sir;  "  play  the  s.,"  play  the  fine 

gentleman;  II.  i.  176. 
Sith,  since  (Quartos,  "  since  ")  ; 

III.  iii.  380. 
Skillet,  boiler,  kettle ;  I.  iii.  273. 

The    accompanying    illustra- 


tion represents  an  old  six- 
teenth century  helmet  used  as 
a  skillet,  which  was  found  in 
dredging  the  Thames  near 
the  Tower  of  London. 


Slight,  worthless,  frivolous;  II. 

iii.  279. 
Slipper,  slippery;  II.  i.  246. 
Slubber,  sully,  soil ;  I.  iii.  22y. 
Snipe,      simpleton      (Folio      i, 

"  S  n  p  e"  ',     Folio     2,     *'  a 

Swaine " ;    Folios    3,    4,    "  a 

Swain")  ;  I.  iii.  390. 
Snorting,  snoring;  I.  i.  90. 
Soft,  mild,  gentle ;  I.  iii.  82. 
Soft  you,  hold ;  V.  ii.  338. 
Something,   somewhat;    II.    iii. 

199. 

Sorry,  painful  (Quartos,  "sul- 
len"; Collier  MS.,  "sud- 
den") ;  III.  iv.  51. 

Spake,  said,  affirmed  (Quarto 
3,  "  speake")  ;  V.  ii.  s^y. 


160 


THE  MOOR  OF  VENICE 


Glossary 


spartan  dog,  the  dogs  of  Spar- 
tan breed  were  fiercest ;  V.  ii. 
361. 

Speak  i'  the  nose,  "  the  Nea- 
poHtans  have  a  singularly 
drawling  nasal  twang  in  the 
utterance  of  their  dialect; 
and  Shylock  tells  of  '  when 
the  bagpipe  sings  i'  the 
nose'"  (Clarke);  (Collier 
MS.,   "squeak";    etc.);    III. 

i.  5. 
Speak  parrot,  talk  nonsense ;  II. 

iii.  280. 
Speculative,       possessing      the 

power  of   seeing;   I.   iii.  271. 
Spend,  waste,  squander ;  II.  iii. 

195. 

Spleen,  choler,  anger ;  IV.  i.  89. 

Splinter,  secure  by  splints;  II. 
iii.  329. 

Squire,  fellow  (used  contemp- 
tuously) ;  IV.  ii.  145. 

Stand  in  act,  are  in  action ;  I.  i. 
152. 

Start,  startle,  rouse;  I.  i.  loi. 

Startingly,  abruptly  (Folios  3, 
4.  "  staringly ")  ;   III.  iv.  79. 

Stay,  are  waiting  for ;  IV.  ii. 
170. 

Stead,  benefit,  help;   I.  iii.  344. 

Still,  often,  now  and  again ;  I. 
iii.  147. 

Stomach,  appetite ;  V.  ii.  75. 

Stop;  "your  s.,"  the  impedi- 
ment you  can  place  in  my 
way ;  V.  ii.  264. 

Stoup,  a  vessel  for  holding 
liquor ;  II.  iii.  30. 

Stozv'd,  bestowed,  placed ;  I.  ii. 
62. 

Straight,  straightway ;  I.  i.  138. 


Strain,  urge,  press ;  III,  iii.  250. 

Strangeness,  estrang  e  m  e  n  t 
(Quartos,  "strangest")  ;  III. 
iii.   12. 

Strazvberries;  the  accompany- 
ing engraving  is  copied  from 
"  a  piece  of  Elizabethan  nee- 
dlework in  which  the  straw- 
berry and  pink  alternate  over 
a  ground  of  fawn-coloured 
silk"  ;  III.  iii.  435. 


Stuff  0'  the  conscience,  matter 
of  conscience;  I.  ii.  2. 

Subdued,  make  subject;  I.  iii. 
251. 

Success,  that  which  follows, 
consequence;  III.  iii.  222. 

Sudden,  quick,  hasty ;  II.  i.  278. 

Sufferance,  damage,  loss ;  II.  i. 
23- 

Sufficiency,  ability ;  I.  iii.  224. 

Sufficient,  able ;  III.  iv.  91. 

Suggest,  tempt ;  II.  iii.  358. 

Supersubtle,  excessively  crafty 
(Collier  MS.,  "super-sup- 
ple ")  ;  I.  iii.  363. 

Szveeting,  a  term  of  endear- 
ment ;  II.  iii.  252. 

Swelling,  inflated ;  II.  iii.  57. 


161 


Glossary 


TRAGEDY  OF  OTHELLO, 


Szvord  of  Spain,  Spanish 
swords  were  celebrated  for 
their  excellence ;  V.  ii.  253. 

Ta'en  order,  taken  measures ; 
V.  ii.  72. 

Ta'en  out,  copied ;  III.  iii.  296. 

Tainting,  disparaging ;  II.  i. 
274. 

Take  out,  copy ;  III.  iv.  180. 

Take  up  at  the  best,  make  the 
best  of;  I.  iii.  173. 

Talk,  talk  nonsense ;  IV.  iii.  25. 

Ta/^  ^^z^",  speak  to  me  ;  III.iv.92. 

Tells  o'er,  counts;  III.  iii.  169. 

Theoric,  theory ;  I.  i.  24. 

Thick-lips ;  used  contemptuous- 
ly for  "  Africans  "  ;  I.  i.  66. 

Thin,  slight,  easily  seen 
through ;  I.  iii.  108. 

Thread,  thread  of  life ;  V.  ii. 
206. 

Thrice-driven,  "  referring  to 
the  selection  of  the  feathers 
by  driving  with  a  fan,  to  sep- 
arate the  light  from  the 
heavy "  (Johnson)  ;  I.  iii. 
232. 

Thrive  in,  succeed  in  gaining ; 

I.  iii.   125. 
Time,  life;  I.  i.  162. 
Timorous,  full  of  fear ;  I.  i.  75. 
Tire,  make  tired,  weary  out ;  II. 

i.  65. 
Toged,  wearing  the  toga ;  I.  i. 

25. 
Told,   struck,   counted    (Folios 

3,  4.  "  toll'd")  ;  II.  ii.  II. 
Toy,  fancy;  III.  iv.  156. 
Toys,  trifles ;  I.  iii.  269. 
Trash,  worthless  thing,  dross  ; 

II.  i.  311. 


,  keep  back,  hold  in  check 

(a  hunter's  term)  ;  II.  i.  311. 
Traverse,  march,  go  on ;  I.  iii. 

Trimm'd  in,  dressed  in,  wear- 
ing; I.  i.  50. 

Turn;  "  t.  thy  complexion," 
change  colour ;  IV.  ii.  62. 

Unblest,  accursed;   II.  iii.  311. 

Unbonnetted,     without     taking 

off  the  cap,  on  equal  terms  ; 

I.  ii.  23. 

Unbookish,  ignora.nt ;   IV.  i.  102. 
Uncapable,    incapable;    IV.    ii. 

232. 
Undertaker;     "  his     u.,"     take 

charge  of  him,  dispatch  him  ; 

IV.  i.  224. 
Unfold,  reveal,  bring  to  light ; 

IV.  ii.  141. 
Unfolding,    communication ;    I. 

iii.  245. 
Unhandsome,    unfair;    III.    iv. 

151- 

Unhatch'd,  undisclosed;  III.  iv. 

141. 
Unhoused,  homeless,  not  tied  to 

a  household  and  family;  I.  ii. 

26. 
Unlace,  degrade ;  II.  iii.  194. 
Unperfectness,       imperfection; 

II.  iii.  298. 

Unprovide,  make  unprepared ; 
IV.  i.  211. 

Unsure,  uncertain ;  III.  iii.  151. 

Unvarnish'd,  plain,  unadorned ; 
I.  iii.  90. 

Unzvitted,  deprived  of  under- 
standing; II.  iii.  182. 

Upon,  incited  by,  urged  by;  I. 
i.  100. 


162 


THE  MOOR  OF  VENICE 


Glossary 


Use,  custom ;  IV.  i.  277. 

Uses,  manners,  habits   (Quarto 

I,  "  z'sage")  ;  IV.  iii.  105. 

Vantage;  "  to  the  v.,"  over  and 
above;  IV.  iii.  85. 

Vessel,  body ;  IV.  ii.  83. 

Vesture,  garment ;  II.  i.  64. 

Violence,  bold  action ;  I.  iii. 
250. 

Virtuous,  having  efficacy,  pow- 
erful;  III.  iv.  III. 

Voices,  votes;  I.  iii.  261. 

Vouch,  assert,  maintain ;  I.  iii. 
103,  106. 

,  bear  witness ;  I.  iii.  262. 

,  testimony;  II.  i.  148. 

Wage,  venture,  attempt ;   I.  iii. 

30. 
Watch,  watchman;  V.  i.  2>7- 
Watch    him,    keep    him    from 

sleeping ;  a  term  in  falconry ; 

III.  iii.  23. 
Wearing,  clothes ;  IV.  iii.  16. 
Well  said,  well  done  (Quartos, 

"well  sed")  ;  II.  i.  168. 
What,  who;  I.  i.  18. 
Wheeling,    errant     (Quarto    2. 

'■  zvheedling  ")  ;  I.  i.  137. 
Vl'' hipster,  one  who  whips  out 

his  sword   (used  contemptu- 
ously) ;  V.  ii.  244. 
White   (used  with  a  play  upon 

white  and  wight)  ;  II.  i.  134. 
Wholesome,  reasonable;  III.  i. 

49- 
Wicker,   covered   with   wicker- 
work;  (Folios,"  Twiggen  ")  ; 

II.  iii.  152. 


Wight,  person  (applied  to  both 
sexes)  ;  II.  i.  159. 

Wind;  "let  her  down  the  w."; 
the  falconers  always  let  the 
hawk  fly  against  the  wind ;  if 
she  flies  with  the  wind  behind 
her  she  seldom  returns.  If 
therefore  a  hawk  was  for  any 
reason  to  be  dismissed,  she 
was  let  down  tJie  wind,  and 
from  that  time  shifted  for 
herself  and  preyed  at  for- 
tune" (Johnson);  III.  iii. 
262. 

Wind-shaked,  wind-shaken ;  II. 
i.  13- 

With,  by ;  II.  i.  34. 

Withal,  with ;  I.  iii.  93. 

With  all  my  heart,  used  both 
as  a  salutation,  and  also  as  a 
reply  to  a  salutation ;  IV.  i. 
220. 

Within  door ;  "  speak  w.  d.,"  i.e. 
"  not  so  loud  as  to  be  heard 
outside   the   house " ;    IV.    ii. 

144. 
Womand,    accompanied    by    a 

vv^oman ;  III.  iv.  195. 
Worser,  worse ;  I.  i.  95. 
Wrench,     wrest      (Quarto     i, 

"Wring")]  V.  ii.  288. 
Wretch,  a  term  of  endearment; 

(Theobald,    "wench");    III. 

iii.  90. 
Wrought,  worked  upon ;  V.  ii. 

345. 

Yerk'd,  thrust ;  I.  ii.  5. 
Yet,  as  yet,  till   now;   III.  iii. 
432. 


163 


TRAGEDY  OF  OTHELLO, 


Critical  Notes. 

BY  ISRAEL  GOLLANCZ. 

I.  i.  15.  Omitted  in  Folios  and  Quartos  2,  3. 

I.  i.  21.  'A  fellow  almost  danui'd  in  a  fair  wife' ;  if  this  alludes 
to  Bianca,  the  phrase  may  possibly  mean  '  very  near  being  married 
to  a  most  fair  wife.'  Some  explain  "  A  fellow  whose  ignorance  of 
war  would  be  condemned  in  a  fair  woman."  The  emendations 
proposed  2  re  unsatisfactory,  and  probably  unnecessary. 

I.  i.  72.  'changes' ;  Folios  read  'chances.' 

I.  ii.  72-77;  iii.  16;  36;  63;  118;  123;  194;  omitted  in  Quarto  i. 

I.  ii.  7S.  '  weaken  motion';  Rowe's  emendation;  Folios,  and 
Quartos  2,  3,  '  weakens  motion' ;  Pope  (Ed,  2,  Theobald)  '  weaken 
notion';  Hanmer,  'waken  motion';  Keightley,  'wakens  motion'; 
Anon.  conj.  in  Furness,  'wake  emotion,'  etc. 

I.  iii.  67.  'bloody  book  of  law';  "By  the  Venetian  law  the 
giving  of  love-potions  was  highly  criminal"   (Clarke). 

I.  iii.  87.  'feats  of  broil' ;  Capell's  emendation;  Quarto  i,  '  feate 
of  broile';  Folio  i,  'Feats  of  Broiles,'  etc. 

I.  iii.  107.  '  Certain ' ;  so  Quartos  ;  Folios?  '  wider.' 

I.  iii.  139.  ' portance  in  my';  so  Folios  and  Quarto  2;  Quarto 
3,  ' portence  in  my';  Quarto  i,  'with  it  all  my';  Johnson  conj. 
'portance  in't;  my';  etc.;  'travels";  the  reading  of  Modern 
Edd.  (Globe  Ed.);  Quartos,  'trauells';  Pope,  'travel's';  Folio 
I,  '  Trauellours ' ;  Folios  2,  3,  '  Travellers ' ;  Folio  4,  '  Traveller  s  ' ; 
Richardson  conj.  '  travellous'  or  '  travailous.' 

I.  iii.  isg.'  sighs' ;    Folios,    'kisses';    Southern    MS.,   'thanks.' 

I.  iii.  250.  'and  storm  of  fortunes';  Quarto  i,  'and  scorne  of 
Fortunes,'  etc. 

I.  iii.  261.  'Let  her  have  your  voices';  Dyce's  correction; 
Folios,  '  Let  her  have  your  voice  ' ;  Quartos  read — 

"  Your  voyccs  Lords;  beseech  you  let  her  will 
Haue  a  free  way." 

I.  iii.  264-265.  'the  young  affects  In  mc  defunct';  Quartos, 
'the  young  affects  In  my  defunct';  so  Folio  i;  Folios  2,  3,  4, 
'  effects'    The  reading  of  the  text  is  the  simplest  and  most  plau- 

164 


THE  MOOR  or  VENICE  Notes 

sible  emendation  of  the  many  proposed,  the  words  meaning  '  the 
passions  of  youth  which  I  have  now  outlived':  'proper  satisfac- 
tion '  =  '  my  own  gratification.' 

I.  iii.  330.  'balance' ;  Folios,  'brain'  and  'braine';  Theobald, 
'  beam.' 

I.  iii.  354.  '  luscious  as  locusts ' ;  "  perhaps  so  mentioned  from 
being  placed  together  with  wild  honey  in  St.  Matthew  iii.  4 " 
(Schmidt). 

I.  iii.  358.  Omitted  in  Folios. 

I.  iii.  384-388.  The  reading  in  the  text  is  that  of  the  second 
and  third  Quartos ;  Quarto  i,  adds  after  the  words  '  /  am 
cliang'd '' — 

"  Goe  to  farezi'cll,  put  money  enough  in  your  purse"', 

omitting  '  I'll  go  sell  all  my  land.' 

II.  i.  39-40;  158;  260  {'didst  not  mark  that?');  omitted  in 
Quarto  i. 

II.  i.  65.  'tire  the  ingener';  Knight,  Steevens  conj.;  Folio  i, 
'tyre  the  Ingeniuer' ;  Folios  2,  3,  4,  '  tire  the  Ingeniver' ;  Quarto 
I,  '  beare  all  Excellency  ' — ;  Quartos  2,  3,  '  beare  an  excelency ' : — 
Johnson  conj.  'tire  the  ingenious  verse';  Pope,  'beare  all  excel- 
lency— ' 

II.  i.  82.  'And     .     .     .     Cyprus';  omitted  in  Folios. 

II.  i.  249.  '  a  devilish  knave ' ;  omitted  in  Quartos. 

II.  i.  258.  'blest  pudding';  Folios,  '  Bless' d  pudding';  omitted 
in  Quartos. 

II.  i.  267-268.  '  comes  the  master  and  main  ' ;  so  Folios  ;  Quarto 
I  reads  'comes  the  maine';  Quartos  2,  3,  'comes  Roderigo,  the 
master  and  the  maine.' 

11.  i.  279.  'haply  may';  Quartos  read  'haply  with  his  Trunchen 
may.' 

II.  i.  31T.  'poor  trash  of  J^enice,  whom  I  trasJi';  Steevens' 
emendation ;  Quarto  i,  '  poor  trash  .  .  .  I  crush ' ;  Folios, 
Quartos  2.  3,  'poor  Trash  .  .  .  I  trace';  Theobald.  Warbnr- 
ton  conj.  'poor  brach  .  .  .  I  trace';  Warburton  (later  conj.) 
'  poor  brach     .     .     .     I  cherish.' 

II.  iii.  42.  'here'  i.e.  in  my  head. 

II.  iii.  92-99,  These  lines  are  from  an  old  song  called  '  Take  thy 
old  cloak  about  thee,'  to  be  found  in  Percy's  Reliques. 

II.  iii.  167.  'sense  of  place';  Hanmer's  emendation  of  Quar- 
tos: Folios,  'place  of  sense.' 

II.  iii.  292.  '  transform   ourselves   into    beasts.'     "This    trans- 

163 


Notfes 


TRAGEDY  OF  OTHELLO, 


formation  was  irequently  depicted  in  old  satirical  prints ;  as  in 
the  woodcut  here  copied  from  the  Mtisarum  Deliciae  1657,  repre- 
senting '  the  drunken  humors ' 
imparling  to  men  the  feeling  and 
manners  of  the  tiger,  the  ass,  the 
fox,  the  dog.  the  ape  and  the 
swine." 

II.  iii.  318.  'some  time';  so 
Quartos  ;  Folios,  '  a  time  ' ;  Grant 
White,  '  one  time.' 

III.  i.  13.  'for  love's  sake'', 
Quarto  i,  '  of  all  tones.' 

III.  i.  43.  '  F  I  o  r  e  n  t  i  n  c'  i.e. 
'  even  a  Florentine ' ;  lago  was  a 
Venetian. 

III.  i.  52.  Omitted  in  Folios, 
III.  iii.  23.  '  zuatch     him     tame,' 
i.e.   tame   him   by   keeping   him    from    sleep    (as   was    done    with 
hawks). 

III.  iii.  106.  'By  heaven,  he  echoes  me';  Quarto  i,  'By  Jieauen 
he  eccJioes  me';  Folios  'Alas,  thou  ecchos't  me';  Quartos  2,  3, 
'  7vhy  dost  tJiou  ecchoe  me.' 

III.  iii.  132.  'thy  worst  of  thoughts' ;  so  Folios,  Quarto  2; 
Quarto  i  reads  'the  worst  of  thougJits' ;  Quarto  3,  'thy 
thoughts';  perhaps  we  should  read: — 

"As  thou  dost  rum'nate,  give  tJiy  worst  of  thoughts." 


III.  iii. 

'  fondly.' 

III.  iii. 


170.  'strongly  ' ;  so  Quartos;  Folios,  'soundly  '  \  Knight, 

so    Quartos ;     Folios    read 
iv.  8-10;    195-196.     Omitted  in 


277.  '  Desdemona    comes 
'  Looke  where  she  comes.' 

III.  iii.  325;   383-390;   453-460 
Quarto  i. 

III.  iii.  440.  'any  that  was  hers' ;  Malone's  emendation;  Quar- 
tos, 'any,  it  zvas  hers';  Folio  i,  '  avty,  it  zcas  hers';  Folios  2,  3.  4. 
'any,  if't  zvas  hers';  Anon.  conj.  'any  'it'  ivas  hers.' 

III.  iii.  447.  'thy  hollozv  cell';  so  Quartos;  Folios  read  'the 
hollozv  hell';    Warburton,  '  fh'  u)iJiallozv'd  cell.' 

III.  iii.  456.  Steevens  compares  the  following  passage  in  Hol- 
land's Pliny : — "  And  the  sea  Pontus  ever  more  floweth  and  run- 
neth out  from  Propontes,  but  the  sea  never  retireth  back  again 
within  Pontus." 

166' 


THE  MOOR  OF  VENICE  Notes 

III.  iii.  469.  'business  ever';  Quartos,  '  worke  so  euer'\  Col- 
lier, '  work  soe'er,'  etc. 

III.  iv.  47.  'our  new  heraldry'  (vide  Preface). 

III.  iv.  65.  'her'  i.e.  to  my  wife  (implied  in  'wive'). 

III.  iv.  121.  '  shut  myself  up  in,'  etc.,  i.e.  '  Confine  myself  to 
some  other  course  of  life,  awaiting  fortune's  charity ' ;  Quarto  i, 
'  shoote  my  selfe  up  in  ' ;  Capell,  '  shoot  myself  upon  ' ;  Rann, 
'  sliape  myself  upon';  Collier  MS.,  'shift  myself  upon.' 

III.  iv.  151.  'warrior';  Hanmer,  '  ivrangler' ;  cp.  '  O  my  fair 
zuarrior' ;  (II.  i.  184). 

IV.  i.  77.  'here  o'erwhelmed' ;  Quarto  i,  'here  ere  while,  mad.' 
IV.  i.  122.   C  What,  a  customer!')  ;  ii.  7y7^)  i"-  60-63,  87-104; 

omitted  in  Quarto  i. 

IV.  i.  137-138.  'and,  by  this  hand,  she  falls  me';  so  Collier; 
Quarto  i,  reads  'by  this  hand  she  fals';  Folios,  'and  falls  me'; 
Quartos  2,  3,  '  fals  me.' 

IV.  i.  268.  'This  the  nature,'  Pope's  reading;  Quartos,  'This 
the  noble  nature ' ;  Folios,  '  Is  this  the  nature.' 

IV.  ii.  109.  '  least  misuse' ;  Quarto  i,'  greatest  abuse' ;  Collier 
MS.,  '  least  misdeed e.' 

IV.  ii.  170.  'The  messengers  of  Venice  stay  the  meat'; 
Knight's  reading;  Folio  i,  '  The  Messengers  of  Venice  staies  the 
meate';  Folios  2,  3,  4,  'The  Messenger  of  Venice  staies  the 
meate';  Quarto  i,  'And  the  great  Messengers  of  Venice  stay'; 
Quartos  2,  3,  '  The  meate,  great  Messengers  of  Venice  stay.' 

IV.  iii.  23.  'All's  one.  Good  faith';  Quarto  i,  'All's  one 
good  faith';  Quartos  2,  3,  'All's  one;  good  father';  Folios, 
'All's  one:  good  Father.' 

IV.  iii.  26.  'Barbara' ;  Quartos  read'  Barbary  ' ;  Folio  i,  'Bar- 
baric.' 

IV.  iii.  41,  etc. ;  the  original  of  Desdemona's  song  is  to  be 
found  in  Percy's  Reliques  under  the  title  of  'A  Lover's  Com- 
''iaint,  being  forsaken  of  Jiis  Love ' ;  where  the  plaintive  lover  is 

man. 

IV.  iii.  41.  'sighing';  Folios,  'singing';  Quarto  3,  '  singhing' ; 
Folio  I,  (Dev.)  '  sining.' 

V.  i.  82-83;  ii.  82,  185-193,  266-272;  omitted  in  Quarto  i. 

V.  i.  105.  'gentlemen,'  the  reading  of  Folios;  Quartos,  'Gen- 
tlewoman.' 

V.  i.  107.  'if  you  stare';  so  Folios;  Quartos  i,  2,  'an  you 
stirre  ' ;   Quarto  3,  '  an  you  stirr ' ;  Anon.  conj.  '  if  you  stay.' 

V.  ii.  7.  'Put  out  the  light,  and  then  put  out  the  light';  i.e, 

it; 


Notes  TRAGEDY  OF  OTHELLO. 

'put  out  the  light,  and  then  put  out  the  light  of  life."  The  Cam- 
bridge Editors  give  some  dozen  variant  methods  of  punctuating 
and  reading  the  line,  but  it  is  perfectly  clear  as  it  stands. 

V.  ii.  151.  'made  mocks  with  love';  "taken  advantage  to  play 
upon  the  weakness  of  passion  "  (Johnson). 

V.  ii.  172.  'Disprove  this  villain';  Capell^  'Disprove  it,  villain.' 

V.  ii.  ZZJ.  'bring  aivay';  Quartos,  'bring  him  away';  Collier 
MS.,  ■'  bring  them  away.' 

V.  ii.  347.  'Indian';  Folio  i,  ' ludcan';  Theobald  proposed 
'Indian,'  adding,  "  I  am  satisfied  in  his  Indian  he  is  alluding  to 
Herod,  who,  in  a  fit  of  blind  jealosie,  threw  away  such  a  jewel  of 
a  wife  as  Mariamne  was  to  him."  This  interpretation  was  War- 
burton's.  "  This  it  is,"  as  Coleridge  put  it,  "  for  no-poets  to  com- 
ment on  the  greatest  of  poets  !  To  make  Othello  say  that  he,  who 
had  killed  his  wife,  was  like  Herod  who  had  killed  Mariamne !  " 
Boswell  aptly  quotes  from  Habington's  Castara : — 

"So  the  unskilful  Indian  those  bright  gems 
Which  might  add  majesty  to  diadems, 
'Mong  the  waves  scatters." 


168 


THE  MOOR  OF  VENICE 


Explanatory  Notes. 


The  Explanatory  Xotes  in  this  edition  have  been  specially  selected  and 
adapted,  with  emendations  after  the  latest  and  best  authorities,  from  the 
most  eminent  Shakespearian  scholars  and  commentators,  including  Johnson, 
Malone,  Steevens,  Singer,  Dyce,  Hudson,  White,  Furness,  Dowden,  and 
others.  This  method,  here  introduced  for  the  first  time,  provides  the  best 
annotation  of  Shakespeare  ever  embraced  in  a  single  edition. 

ACT  FIRST. 
Scene  I. 

3.  shotildst  know  of  this: — Of  the  intended  elopement.  Rod- 
erigo  has  been  suing  for  Desdemona's  hand,  employing  lago  to 
aid  him  in  his  suit,  and  paying  his  service  in  advance.  The  play 
opens  pat  upon  her  elopement  with  the  Moor,  and  Roderigo  pre- 
sumes lago  to  have  been  in  the  secret  of  their  intention. 

10.  Off-capp'd: — To  cap  was  often  used  for  a  salutation  of  re- 
spect, made  by  taking  off  the  cap.  "  Three  great  ones  of  the  city," 
says  Knight,  "  wait  upon  Othello ;  they  off-capp'd — they  took  cap 
in  hand — in  personal  suit  that  he  should  make  lago  his  lieutenant." 

31.  By  debitor  and  creditor: — By  a  mere  accoimtant,  a  keeper 
of  debt  and  credit.  lago  means  that  Cassio,  though  knowing  no 
more  of  war  than  men  of  the  gown,  as  distinguished  from  men  of 
the  sword,  has  yet  outsailed  him  in  military  advancement.  Again, 
he  calls  Cassio  "this  counter-caster,''  in  allusion  to  the  counters 
formerly  used  in  reckoning  up  accounts. 

33.  ancient: — This  old  corruption  of  ensign  was  used  both  for 
a  standard  and  a  standard-bearer.  For  both  uses  see  i  Henry  IV., 
IV.  ii.  25  and  33  respectively.  But  that  ensign  was  in  use  in 
Shakespeare's  day  is  abundantly  proved,  as  in  Drayton's  Barons' 
Warres : — 

"  Ensigne  beards  Ensigne,  Sword  'gainst  Sword  doth  shake." 

39.  Whether  I  stand  within  any  such  terms  of  affinity  to  the 
Moor,  as  that  I  am  bound  to  love  him. 

169 


Notes  TRAGEDY  OF  OTHELLO. 

45.  knee-crooking  knave: — We  have  here  a  notable  example  of 
the  use  of  knazr  in  the  transition  stage  between  its  second  and  its 
third  or  present  meaning.  It  first  meant  a  child;  then,  because 
children  served  their  elders,  a  servant ;  and  finall}-,  because  of  the 
dishonesty  and  loose  morals  of  servants,  a  rogue.  In  Roderigo's 
account  of  the  elopement,  farther  on  in  this  scene,  the  word  occurs 
in  its  secondary  sense,  "  a  knave  of  common  hire,  a  gondolier." 
The  opprobrious  sense  of  the  word  seems  to  have  become  lixed 
early  in  the  second  quarter  of  the  seventeenth  century.  "  For 
whosoeuer  should  in  these  present  times  say  in  England  to  some 
English  men  knaue,  which  formerly  was  taken  for  a  man  seruant, 
and  on  which  word  the  law  takes  no  hold,  it  would  not  take  well, 
for  that  knaue  and  a  base  fellow  signifieth  the  selfe  sarrte  thing." 

65.  /  am  not  zvhat  I  am: — A  misprint,  perhaps,  for  "I  am  not 
what  I  seem."  This,  at  all  events,  is  probably  the  meaning  of 
lago. 

66.  full  fortune,  etc. : — So  both  the  Quartos :  the  Folio  has  fall 
instead  of  full.  The  meaning  is,  how  fortunate  he  is,  or  how 
strong  in  fortune,  if  he  can  hold  out  against  such  practice.  Simi- 
lar language  occurs  in  Cymbeline  :  "  Our  pleasure  his  full  fortune 
doth  confine."  And  in  Antony  and  Cleopatra:  "The  imperious 
show  of  the  full-fortuned  Csesar."  Of  course  owe  is  used  in  the 
old  sense  of  ozvn  or  possess. 

75,76.  In  the  time  of  night  and  negligence;  a  very  common 
form  of  expression.  Timorous  was  sometimes  used,  as  fearful 
still  is.  for  that  which  frightens.  Old  dictionaries  explain  it, 
"  fearful,  horridus,  formidolosus." 

106.  My  house  is  not  a  grange: — Mine  is  not  a  lone  house, 
where  a  robbery  might  easily  be  committed.  Grange  is,  strictly, 
the  farm  of  a  monastery ;  but,  provincially,  any  lone  house  or  soli- 
tary farm  is  called  a  grange.  So  in  Measure  for  Measure,  III.  i. 
274,  275:  "There,  at  the  moated  grange,  resides  this  dejected 
Mariana." 

114.  A  gennct  is  a  horse;  strictly  a  Spanish  horse  of  the  breed 
called  barbs,  introduced  into  Spain  by  the  Moors  from  Barbary. 
Germans,  meaning  brothers,  sisters,  or  cousins,  is  here  used  for 
any  near  relations. 

126.  gondolier: — A  writer  in  the  Pictorial  Shakspere  tells  us. 
"that  the  gondoliers  are  the  only  conveyors  of  persons,  and  of  a 
large  proportion  of  property,  in  Venice;  that  they  are  thus 
cognizant  of  all  intrigues,  and  the  fittest  agents  in  them,  and  are 
under  perpetual   and   strong  temptations   to  make  profit  of  the 

170 


THE  MOOR  OF  VENICE  Notes 

secrets  of  society.  Brabantio  might  well  be  in  horror  at  his 
daughter  having,  in  '  the  dull  watch  o'  the  night,  no  worse  nor 
better  guard.'  " 

132.  from  : — Against  or  opposed  to. 

137.  In  an  extravagant  and  wheeling  stranger: — A  stranger  who 
has  no  fixed  abode,  whose  life  is  irregular.  So  in  Markham's 
English  Housewife,  "  The  Sewer  upon  the  placing  them  [certain 
dishes]  upon  the  table  shall  not  set  them  down  as  he  received 
them,  but  setting  the  Sallets  extravagantly  about  the  table,"  etc., 
Ed.  1653;  and  in  Hamlet,  I.  i.  154.  155,  "The  extravagant  and 
erring  spirit  hies  to  his  confine."  So  lago,  Sc.  iii.,  362,  363,  of 
this  Act  calls  Othello  an  "  erring  barbarian." 

143.  not  unlike  my  dream: — "The  careful  old  senator,"  says 
Coleridge,  "  being  caught  careless,  transfers  his  caution  to  his 
dreaming-power  at  least." 

159.  The  Sagittary  is  supposed  by  some  commentators  to  have 
been  some  public  house  or  inn  with  a  figure  of  the  Archer,  after 
Sagittarius,  ninth  sign  of  the  zodiac,  for  the  sign  of  the  house 
itself.     Perhaps  Shakespeare  knew  at  Venice  an  inn  so  called. 

182.  at  most: — That  is,  at  most  of  the  houses. 


Scene  II. 

2.  stiiif  0'  the  conscience: — A  point  or  matter  of  conscience, 

8.  lago  is  speaking  of  Roderigo,  and  pretending  to  relate  what 
he  has  done  and  said  against  Othello. 

22.  men  of  royal  siege: — Men  who  have  sat  on  kingly  thrones. 
Siege  was  often  thus  used  for  seat. 

22,23.  ffiy  demerits  may  speak  unhonneted,  etc.: — Shakespeare 
and  his  contemporaries  use  demerits  to  express  both  the  presence 
and  the  absence  of  merit.  See  an  instance  of  the  former  in  Mac- 
beth, IV.  iii.,  and  of  the  latter  in  Coriolanus,  I.  i.  Unhonneted 
can  only  mean  without  the  bonnet ;  which  sense,  as  the  uncovering 
of  the  head  is  a  sign  of  deference,  seems  at  variance  with  the 
manifest  purpose  of  Othello's  speech.  Yet  there  does  not  appear 
to  be  sufficient  reason  for  us  to  assume  that  there  is  corruption. 
Theobald  would  have  read,  "  may  speak  and  bonneted." 

28.  tJie  sea's  worth  : — Pliny,  the  naturalist,  has  a  chapter  on  the 
riches  of  the  sea.     The  expression  seems  to  have  been  proverbial. 

59.  There  seems  to  be  a  sort  of  playful,  good-humoured  irony 
expressed  in  the  very  rhythm  of  this  line.    Throughout  this  Scene, 

171 


Notes  TRAGEDY  OF  OTHELLO, 

Othello  appears  at  all  points  "  the  noble  nature,  whose  solid  virtue 
the  shot  of  accident,  nor  dart  of  chance,  could  neither  graze,  nor 
pierce  " ;  his  calmness  and  intrepidity  of  soul,  his  heroic  modesty, 
his  manly  frankness  and  considerative  firmness  of  disposition  are 
all  displayed  at  great  advantage,  marking  his  character  as  one 
made  up  of  the  most  solid  and  gentle  qualities.  Though  he  has 
nowise  wronged  Brabantio,  he  knows  that  he  seems  to  have  done 
so :  his  feelings  therefore  take  the  old  man's  part,  and  he  respects 
his  age  and  sorrow  too  much  to  resent  his  violence ;  hears  his 
charges  with  a  kind  of  reverential  defiance,  and  answers  them  as 
knowing  them  false,  yet  sensible  of  their  reasonableness,  and  hon- 
ouring him  the  more  for  making  them. 

68.  In  Shakespeare's  time  it  was  the  fashion  for  lusty  gallants 
to  wear  "  a  curled  bush  of  frizzled  hair."  In  King  Lear,  Edgar, 
when  he  was  "proud  in  heart  and  mind."  curled  Ins  hair.  The 
Poet  has  other  allusions  to  the  custom  among  people  of  rank  and 
fashion. 

99.  Pagan  was  a  word  of  contempt ;  and  the  reason  will  appear 
from  its  etymology:  "  Paganus,  villanus  vel  incultus.  Et  deriva- 
tur  a  pagiis,  quod  est  villa.  Et  quictuique  habitat  in  villa  est 
paganiis.  Prsetera  quicunque  est  extra  civitatem  Dei.  i.  e.,  eccle- 
siam,  dicitur  paganus.  Anglice,  a  paynijn." — Ortus  Vocahulorum, 
1528. 

Scene  IH. 

23.  That  he  may  capture  it  with  an  easier  conflict. 

48,  49.  employ  you,  etc. : — It  was  part  of  the  policy  of  the  Vene- 
tian state  to  employ  strangers,  and  even  Moors,  in  their  wars. 
"  By  lande  they  are  served  of  straungers,  both  for  generals,  for 
capitaines,  and  for  all  other  men  of  warre,  because  theyr  lawe 
permitteth  not  any  Venetian  to  be  capitaine  over  an  armie  by 
lande;  fearing,  I  thinke,  Caesar's  example." — Thomas's  History  of 
Italye. 

67.  bloody  hook  of  law : — By  the  Venetian  law  the  giving  love- 
potions  was  highly  criminal,  as  appears  in  the  Code  Delia  Promis- 
sion  del  Maleiico. 

96.  herself'. — Shakespeare,  like  other  writers  of  his  age,  fre- 
quently uses  the  personal  instead  of  the  neutral  pronoun. 

1^0.  antres: — Caverns;  irom.  antrum,  1.2.1.  Warburton  observes 
that  Rymer  ridicules  this  whole  circumstance ;  and  Shaftesbury 
obliquely  sneers  at  it.    "  Whoever,"  says  Johnson,  "  ridicules  this 

172 


THE  MOOR  OF  VENICE  Notes 

account  of  the  progress  of  love,  shows  his  ignorance  not  only  of 
history,  but  of  nature  and  manners.  It  is  no  wonder  that,  in  any 
age,  or  in  any  nation,  a  lady,  recluse,  timorous,  and  delicate, 
should  desire  to  hear  of  events  and  scenes  which  she  could  never 
see,  and  should  admire  the  man  who  had  endured  dangers,  and 
performed  actions,  which,  however  great,  were  magnified  by  her 
timidity." 

144,  145.  Nothing  excited  more  universal  attention  than  the  ac- 
count brought  by  Sir  Walter  Raleigh,  on  his  return  from  his  cele- 
brated voyage  to  Guiana  in  1595,  of  the  cannibals,  amazons,  and 
especially  of  the  nation,  "  whose  heads  do  grow  beneath  their 
shoulders."  A  short  extract  of  the  more  wonderful  passages  was 
also  published  in  Latin  and  in  several  other  languages  in  1599, 
adorned  with  copper-plates,  representing  these  cannibals,  ama- 
zons, and  headless  people,  etc.  These  extraordinary  reports  were 
universally  credited;  and  Othello  therefore  assumes  no  other 
character  but  what  was  very  common  among  the  celebrated  com- 
manders of  the  Poet's  time. 

155.  not  intentifcly: — Intention  and  attention  were  once  synony- 
mous. "  Intentive,  which  listeneth  well  and  is  earnestly  bent  to  a 
thing,"  says  Bullokar,  in  his  Expositor,  1616. 

163.  such  a  man : — A  question  has  been  raised  whether  the 
meaning  here  is,  that  Desdemona  wished  such  a  man  had  been 
made  for  her,  or  that  she  herself  had  been  made  such  a  man ; 
and  several  have  insisted  on  the  latter,  lest  the  lady's  delicacy 
should  be  impeached.  Her  delicacy  stands  in  need  of  no  such 
critical  guardianship. 

199.  Let  me  speak  as  you  yourself  have  spoken ;  referring  to 
Brabantio's  words,  "  I  here  do  give  thee  that,"  etc. 

202.  This  is  expressed  in  a  common  proverbial  form  in  Lore's 
Labour's  Lost:  "  Past  cure  is  still  past  care." 

219.  pierced  through  the  ear: — The  wounded  heart  was  healed 
with  words,  pierced  bemg  used  simply  in  the  sense  of  reached  or 
penetrated.     So  in  The  Faerie  Quecne,  vi.  9,  26: — 

"Whyl'st  thus  he  talkt,  the  Knight  with  greedy  eare 
Hong  still  upon  his  melting  mouth  attent ; 
Whose  sensefull  words  empierst  his  hart  so  neare. 
That  he  was  wrapt  with  double  ravishment." 

Dyce  quotes  the  First  Part  of  Marlowe's  Tambiirlaine,  1.  2: — 

"  Nor  thee  nor  them,  thrice-noble  Tamburlame, 
Shall  want  my  heart  to  be  with  gladness  pierc'd." 

173 


Notes  TRAGEDY  OF  OTHELLO. 

249-251.  That  I  did  love  .  .  .  world: — So  the  Folio  and  the 
Quarto  of  1630:  the  Quarto  of  1622  has  scorn  instead  of  storm. 
Scorn  will  not  cohere  with  violence,  unless  by  making  it  express 
a  quality  of  Desdemona  herself,  not  of  her  fortunes ;  the  sense  in 
that  case  being,  "  my  downright  violence  of  behaviour,  and  scorn 
of  fortune."  She  evidently  means  the  violence  and  storm  of  for- 
tunes which  she  has  braved  or  encountered  in  marrying  the  Moor, 
and  not  anything  of  a  violent  or  scornful  temper  in  herself. 

293-295.  Look  to  Iter  .  .  .  her  faith  : — "  In  real  life,"  says 
Coleridge,  "  how  do  we  look  back  to  little  speeches  as  presenti- 
mental  of,  or  contrasted  with,  an  affecting  event !  Even  so  Shake- 
speare, as  secure  of  being  read  over  and  over,  of  becoming  a  fam- 
ily friend,  provides  this  passage  for  his  readers,  and  leaves  it  to 
them." 

313.  four  times  seven  years: — This  clearly  ascertains  the  age 
of  lago  to  be  twenty-eight  years;  though  the  general  impres- 
sion of  him  is  that  of  a  much  older  man.  The  Poet,  no  doubt, 
had  a  wise  purpose  in  making  him  so  young,  as  it  infers  his  viru- 
lence of  mind  to  be  something  innate  and  spontaneous,  and  not 
superinduced  by  harsh  experience  of  the  world.  Verplanck  re- 
marks upon  it  thus :  "  An  old  soldier  of  acknowledged  merit,  who, 
after  years  of  service,  sees  a  young  man  like  Cassio  placed  over 
his  head,  has  not  a  little  to  plead  in  justification  of  deep  resent- 
ment, and  in  excuse,  though  not  in  defence,  of  his  revenge:  such 
a  man  may  well  brood  over  imaginary  wrongs.  The  caustic  sar- 
casm and  contemptuous  estimate  of  mankind  are  at  least  pardon- 
able in  a  soured  and  disappointed  veteran.  But  in  a  young  man 
the  revenge  is  more  purely  gratuitous,  the  hypocrisy,  the  knowl- 
edge, the  dexterous  management  of  the  worst  and  weakest  parts 
of  human  nature,  the  recklessness  of  moral  feeling, — even  the 
stern,  bitter  wit,  intellectual  and  contemptuous,  without  any  of  the 
gaiety  of  youth, — are  all  precocious  and  peculiar;  separating 
lago  from  the  ordinary  sympathies  of  our  nature,  and  investing 
him  with  higher  talent  and  blacker  guilt." 

336,  337.  A  sect  is  what  the  gardeners  call  a  cutting.  "  This 
speech,"  observes  Coleridge,  "  comprises  the  passionless  character 
of  lago.  It  is  all  will  in  intellect ;  and  therefore  he  is  here  a  bold 
partisan  of  a  truth,  but  yet  of  a  truth  converted  into  a  falsehood 
by  the  absence  of  all  the  necessary  modifications  caused  by  the 
frail  nature  of  man." 

354,  355.  Alluding,  probably,  to  the  ceratonia  or  caroh,  an  ever- 
green growing  in  the  south  of  Europe,  and  bearing  sweet  black 

174 


THE  MOOR  OF  VENICE  Notes 

pods.    Commerce  had  made  the  fruit  well  known  in  London,  and 
locust  was  the  popular  name  for  it. 

396.  Will  do  .  .  .  well: — That  is,  I  will  act  as  if  I  were  cer- 
tain of  the  fact.  He  holds  me  well  is,  he  entertains  a  good  opinion 
of  me. 

ACT  SECOND. 
Scene  I. 

[A  sea-port  in  Cyprus.]  The  principal  seaport  town  of  Cyprus 
is  Famagiista ;  where  there  was  formerly  a  strong  fort  and  com- 
modious haven,  "  neare  which,"  says  Knolles,  "  standeth  an  old 
castle,  with  four  towers  after  the  ancient  manner  of  building." 
To  this  castle  we  find  that  Othello  presently  repairs. 

13.  There  is  implied  a  comparison  of  the  "  wind-shaked  surge  " 
to  the  war-horse ;  the  Poet  probably  having  in  mind  the  passage 
of  Job:  "Hast  Thou  given  the  horse  strength?  Hast  Thou 
clothed  his  neck  with  thunder?"  Knight  remarks  upon  the  place 
thus :  "  The  horse  of  Job  is  the  war-horse,  '  who  swalloweth  the 
ground  with  fierceness  and  rage  ' ;  and  when  Shakespeare  pictured 
to  himself  his  mane  wildly  streaming,  *  when  the  quiver  rattleth 
against  him,  the  glittering  spear,  and  the  shield,'  he  saw  an  image 
of  the  fury  of  the  '  wind-shaked  surge,'  and  of  its  very  form ; 
and  he  painted  it  'with  high  and  monstrous  mane.'  " 

14.  bear: — The  constellation  near  the  pole  star.  The  next  line 
alludes  to  the  star  Arctophylax,  which  literally  signifies  the  guard 
of  the  bear. 

26.  Veronesa: — This  refers  to  the  ship.  It  is  true,  the  same 
speaker  has  just  called  the  ship  "a  noble  ship  of  Venice'':  but 
Verona  was  tributary  to  the  Venetian  state ;  so  that  there  is  no 
reason  why  she  might  not  belong  to  Venice,  and  still  take  her 
name  from  Verona. 

39, 40.  till  we  make  the  main  .  .  .  regard : — Till  sea  and 
sky  blend  and  become  indistinguishable  to  sight.  On  this  passage 
Coleridge  remarks:  "Observe  in  how  many  ways  Othello  is 
made,  first,  our  acquaintance,  then  our  friend,  then  the  object  of 
our  anxiety,  before  the  deeper  interest  is  to  be  approached." 

49.  Of  allowed  and  approved  expertness. 

64,  65.  By  the  essential  vesture  of  creation  the  Poet  seems  to 
mean  her  outzvard  form,  which  in  the  Merchant  of  Venice  (V.  i. 

175 


Notes  TRAGEDY  OF  OTHELLO, 

64)  he  calls  "  this  muddy  vesture  of  decay."  The  meaning  would 
appear  to  be,  "  She  is  one  who  exceeds  all  description,  and  in  real 
beauty,  or  outward  form,  goes  beyond  the  power  of  the  inventive 
pencil  of  the  artist.  Ben  Jonson,  in  his  Sejanus,  I.  i.,  says: 
"No,  Silius,  we  are  no  good  inginers;  we  want  their  fine  arts." 
Flecknoe,  in  1664,  speaking  of  painting,  mentions  "  the  stupendous 
works  of  your  great  ingeniers." 

70.  Ensteep'd  here  means  simply  hjd  in  the  water,  submerged ; 
a  frequent  use  of  the  word.  Thus  in  The  Faerie  Queene, 
i.  II : — 

"  Now  gan  the  golden  Phoebus  for  to  steepe 
His  fierie  face  in  billows  of  the  west." 

112.  Saints  in  your  injuries: — "When  you  have  a  mind  to  do 
injuries,  you  put  on  an  air  of  sanctity." 

144-148.  "The  sense,"  says  Warburton,  "is  this:  One  that  was 
so  conscious  of  her  own  merit,  and  of  the  authority  her  character 
had  with  every  one,  that  she  durst  call  upon  malice  itself  to  vouch 
for  her.  This  was  strong  commendation.  And  the  character  only 
of  clearest  virtue ;  which  could  force  malice,  even  against  its 
nature,  to  do  justice." 

156.  To  exchange  a  delicacy  for  coarser  fare,  the  head  being 
the  best  part  of  the  cod,  the  tail  the  worst  of  the  salmon. 

161.  That  is,  to  suckle  children  and  keep  the  accounts  of  the 
household. 

184.  fair  warrior: — Perhaps  Othello  intends  a  playful  allusion 
to  the  unwillingness  Desdemona  has  expressed  to  he  left  behind, 
a  moth  of  peace,  and  lie  go  to  tJie  war.  Steevens,  however,  thinks 
it  was  a  term  of  endearment  derived  from  the  old  French  poets ; 
as  Ronsard,  in  his  Sonnets,  often  calls  the  ladies  guerrieres. 

201-203.  [Aside.]  Coleridge  pronounces  lago  "  a  being  next  to 
devil,  and  only  not  quite  devil."  It  is  worth  noting  that  Milton's 
Satan  relents  at  the  prospect  of  ruining  the  happiness  before  him, 
and  prefaces  the  deed  with  a  gush  of  pity  for  the  victims ;  whereas 
the  same  thought  puts  lago  in  a  transport  of  jubilant  ferocity.  Is 
our  idea  of  Satan's  wickedness  enhanced  by  his  thus  indulging 
such  feelings,  and  then  acting  in  defiance  of  them,  or  as  if  he 
had  them  not?  or  is  lago  more  devilish  than  he? 

208.  out  of  fashion : — Out  of  method,  without  any  setttled  or- 
der of  discourse. 

223,  Lay  thy  finger  thus: — On  thy  mouth  to  stop  it,  while  thou 
art  listening  to  a  wiser  man. 

176 


THE  MOOR  OF  VENICE  Notes 

262,  263.  index  .  .  .  prologue  : — Indexes  were  formerly  pre- 
iixed  to  books. 

314,  in  the  rank  garb: — In  the  right-dozvn,  or  straight-forward 
fashion.  In  King  Lear,  Cornwall  says  of  Kent  in  disguise,  that 
he  *'  doth  affect  a  saucy  roughness,'  and  constrains  the  garb  quite 
from  his  nature."  Gower  says  of  Fluellen,  in  King  Henry  V., 
"  You  thought,  because  he  could  not  speak  English  in  the  native 
garb,  he  could  not  therefore  handle  an  English  cudgel." 

320.  "An  honest  man,"  says  Johnson,  "acts  upon  a  plan,  and 
forecasts  his  designs ;  but  a  knave  depends  upon  temporary  and 
local  opportunities,  and  never  knows  his  own  purpose,  but  at  the 
time  of  execution." 

Scene  III. 

57.  elements: — As  quarrelsome  as  the  discordia  semina  rerum; 
as  quick  in  opposition  as  fire  and  water. 

62.  Every  scheme  subsisting  only  in  the  imagination  may  be 
termed  a  dream. 

80-83.  In  The  Captain  of  Beaumont  and  Fletcher,  one  of  the 
persons  asks,  "  Are  the  Englishmen  such  stubborn  drinkers  ?  " 
and  another  answers  thus :  "  Not  a  leak  at  sea  can  suck  more 
liquor:  you  shall  have  their  children  christened  in  mull'd  sack, 
and  at  five  years  old  able  to  knock  a  Dane  down."  And  in  Henry 
Peacham's  Complcat  Gentleman,  1622,  we  have  the  following: 
"  Within  these  fiftie  or  threescore  yeares  it  was  a  rare  thing  with 
us  to  see  a  drunken  man.  But  since  we  had  to  doe  in  the  quarrel! 
of  the  Netherlands,  the  custom  of  drinking  and  pledging  healthes 
was  brought  over  into  England ;  wherein  let  the  Dutch  be  their 
owne  judges,  if  we  equall  them  not;  yea,  I  think,  rather  excell 
them." 

85.  I'll  do  you  justice: — That  is,  drink  as  much  as  you  do: 
old  pot-house  slang. 

87-94.  These  stanzas  are  copied,  with  a  few  slight  variations, 
from  an  old  ballad  entitled  "  Take  thy  old  Cloak  about  thee," 
which  is  reprinted  entire  in  Percy's  Reliques. 

122,  123.  How  differently  the  liar  speaks  of  Cassio's  soldiership 
to  Mcntano  and  to  Roderigo !  He  is  now  talking  where  he  is 
liable  to  be  called  to  account  for  his  words. 

130.  If  he  have  no  drink,  he  will  keep  awake  while  the  clock 
strikes  two  rounds,  or  four-and-twenty  hours.  The  word  horo- 
loge is  familiar  to  most  of  our  ancient  writers:  Chaucer  often 
uses  it. 

177 


Notes  TRAGEDY  OF  OTHELLO. 

252.  Lead  Jiim  off: — Malone  thought  that  these  words  were  a 
stage  direction  which  had  crept  into  the  text,  because  "  in  our  old 
plays  all  the  stage  directions  were  couched  in  imperative  terms." 
"  Such,"  says  White,  "  is  my  opinion,  and  such  it  was  before  I 
saw  Malone's  note,  but  for  a  different  reason.  If  Othello  had  or- 
dered the  removal  of  Montano,  he  would  have  said,  not  '  Lead 
him  off,'  but  '  Lead  him  azuay.'  We  speak  of  a  man's  being  or 
having  been  led  off,  or  on,  in  the  sense  of  away,  or  onward ;  but 
when  we  direct  a  man  to  be  taken  from  where  we  are,  we  say 
'  away,'  unless  we  are  upon  a  staging,  or  some  place  of  that  kind, 
which,  for  Shakespeare's  purposes,  Othello  was  not.  The  rhythm 
of  this  command,  too,  is  not  like  that  of  Shakespeare's  hemistichs. 
But  as  Folio  and  Quartos  unite  in  the  reading  in  question,  I  do 
not  venture  to  change  it  upon  mere  opinion."  Rolfe  retains  this 
reading.     Hudson    (Harvard  ed.)    omits  it. 

354.  355-  Parallel  course : — Course  parallel  to  or  agreeing  with 
his  good ;  coinciding  with  his  wish  or  design. 

356.  When  devils  will  instigate  to  their  blackest  sins,  they 
tempt,  etc.  We  repeatedly  meet  with  the  same  use  of  put  on,  and 
of  suggests  and  its  cognates  for  tempt. 

382,  383.  Though  other  things,  etc. : — Clarke's  explanation  is, 
"  Although  our  other  plans  are  growing  to  maturity,  yet  the 
fruits  of  our  scheme  for  the  removal  of  Cassio,  as  it  first  bore 
promising  blossom,  will  naturally  first  ripen.  lago  is  trying  to 
inspire  Roderigo  with  patience  for  the  ripening  of  his  plan  against 
Desdemona  by  bidding  him  remember* that  meanwhile  his  plan 
against  Cassio  is  succeeding."  Johnson  explains  the  passage  thus: 
"  Of  many  different  things,  all  planned  with  the  same  art  and 
promoted  with  the  same  diligence,  some  must  succeed  sooner  than 
others,  by  the  order  of  nature.  Everything  cannot  be  done  at 
once;  we  must  proceed  by  the  necessary  gradation.  We  are  not 
to  despair  of  slow  events  any  more  than  of  tardy  fruits,  while  the 
causes  are  in  regular  progress,  and  the  fruits  grow  fair  against 
the  sun." 

ACT  THIRD. 
Scene  L 

2.  It  was  usual  for  friends  to  serenade  a  new-married  couple 
on  the  morning  after  the  celebration  of  the  marriage,  or  to  greet 
them  with  a  morning  song  to  bid  them  good  morrow. 

178 


THE  MOOR  OF  VENICE  Notes 

42.  In  consequence  of  this  line  a  doubt  has  been  entertained  con- 
cerning the  country  of  lago.  Cassio  was  undoubtedly  a  Floren- 
tine, as  appears  by  the  first  Scene  of  the  play,  where  he  is  ex- 
pressly called  one.  That  lago  was  a  Venetian  is  proved  by  a 
speech  in  the  third  Scene  of  this  Act,  and  by  what  he  says  in  the 
fifth  Act,  after  having  stabbed  Roderigo,  All  that  Cassio  means 
to  say  in  the  present  passage  is.  "  I  never  experienced  more  hon- 
esty and  kindness,  even  in  one  of  my  own  countrymen." 

44.  your  displeasure : — The  displeasure  you  have  incurred  from 
Othello. 

Scene  III. 

14  et  seq.  That  policy,  etc. : — Johnson  explains  this  as  fol- 
lows:  He  may  either  of  himself  think  it  politic  to  keep  me  out 
of  office  so  long,  or  he  may  be  satisfied  with  such  slight  reasons, 
or  so  many  accidents  may  make  him  think  my  readmission  at  that 
time  improper,  that  I  may  be  quite  forgotten. 

23.  /  //  zi.'atch  him  tame: — Hawks  and  other  birds  are  tamed 
by  keeping  them  from  sleep.    To  this  Shakespeare  alludes. 

90.  The  word  wretcli  was  a  term  of  the  fondest  tenderness  and 
endearment.     Shakespeare  often  uses  it  so. 

91,  92.  The  meaning  is,  "  Ere  I  cease  to  love  thee,  the  world 
itself  shall  be  reduced  to  its  primitive  chaos."  But  is  used  in  its 
exceptive  sense;  hut  that,  or  "if  I  do  not  love  thee." 

96.  He  did,  etc. : — In  Act  I.  Sc.  ii.,  when  lago,  speaking  of  the 
Moor  to  Cassio,  says,  "  He  's  married,"  Cassio  asks,  "  To  whom?  " 
Yet  here  he  seems  to  have  known  all  about  it.  Of  course  the  ex- 
planation is,  that  Cassio  there  feigned  ignorance,  in  order  to  keep 
his  friend's  secret  till  it  should  be  publicly  known. 

123.  close  delations: — "Close  delations"  are  secret  accusings, 
intimations.  So  in  Ben  Jonson's  Volpone,  II.  iii. :  "  Yet,  if  I  do 
it  not,  they  may  delate  my  slackness  to  my  patron."  It  should  be 
noted,  that  in  all  this  part  of  the  dialogue  the  doubts  started  in 
Othello  by  the  villain's  artful  insinuations  have  reference  only  to 
Cassio.  There  is  not  the  least  sign  that  the  Moor's  thoughts  any- 
wise touch  his  wife;  and  lago  seeems  perplexed  that  his  sus- 
picions have  lighted  elsewhere  than  he  had  intended. 

136  et  seq.  Utter  my  thoughts,  etc.: — Who  has  so  virtuous  a 
breast  that  some  impure  conceptions  and  uncharitable  surmises 
will  not  sometimes  enter  into  it;  hold  a  session  there,  as  in  a 
regular  court,  and  "  bench  by  the  side  "  of  authorized  and  lawful 

179 


Notes  TRAGEDY  OF  OTHELLO. 

thoughts?  A  leet  is  also  called  a  law-day.  "  This  court,  in  whose 
manor  soever  kept,  was  accounted  the  king's  court,  and  commonly 
held  every  half  year  "  :  it  was  a  meeting  of  the  hundred  "  to  cer- 
tify the  king  of  the  good  manners  and  government  of  the  in- 
habitants." 

i66,  167.  the  green-eyed  monster,  etc.: — Hanmer  changed  mock 
to  make,  and  the  change  has  been  frequently  adopted,  among 
other  commentators,  by  Hudson.  Schmidt  conjectures  that  make 
may  be  correct.  Furness  and  Rolfe  adhere  to  mock,  the  former 
remarking:  "The  meat  that  jealousy  feeds  on  is  the  victim  of 
jealousy,  the  jealous  man,  who  is  mocked  with  trifles  light  as 
air."  White  says  that  jealousy  "  is  fed  by  the  objects  of  its  open 
scorn  and  derision.  For  we  all  know,  as  well  as  lago,  that 
the  green-eyed  monster  is  like  Pistol,  and  if  it  '  can  mock  a  leek,' 
it  '  can  eat  a  leek.'  Had  the  original  text  read  make  there  could 
have  been  no  question  as  to  its  soundness.  But  both  Folio  and 
Quarto  have,  which  doth  mocke.  The  curious  reader  will  find 
five  pages  of  comment  upon  this  passage  in  the  Variorum  of  1821." 

173.  riches  fineless,  etc. : — JFineless  is  endless,  unbounded.  War- 
burton  observes  that  this  is  finely  expressed — winter  producing 
no  fruits. 

1 82.  exsuMicate : — This  is  the  only  known  instance  of  exsuf- 
Hicatc.  Phillips  interprets  sufHation  "  a  puffing  up,  a  making  to 
swell  with  blowing."  In  Platus  we  have  "  suiHavit  nescio  quid 
uxore  "  ;  which  Cooper  renders.  "  He  hath  whispered  something 
in  his  wifes  eare  whatsoever  it  be."  Richardson's  explanation  is, 
"  Exsiifiiicate,  in  Shakespeare,  is  not  improbably  a  misprint  for 
exsutHate,  that  is,  etflate  or  eMatcd,  puffed  out,  and,  consequently 
exaggerated,  extravagant ;  to  which  blown  is  added,  not  so  much 
for  the  sake  of  a  second  epithet,  with  a  new  meaning,  as  of  giving 
emphasis  to  the  first." 

249.  You  shall  discover  whether  he  thinks  his  best  means,  his 
most  powerful  interest,  is  by  the  solicitation  of  your  lady. 

259,260.  And  knows  .  .  .  dealings: — "He  knows  with  a 
learned  spirit  all  qualities  of  human  dealings." 

260.  Haggard  is  wild,  unreclaimed;  commonly  used  of  a  hawk. 
So  in  Sir  Thomas  Browne's  Religio  Medici :  "  Thus  I  teach  my 
haggard  and  unreclaimed  reason  to  stoop  to  the  lure  of  faith." 
A  passage  in  The  White  Devil,  or  Vittoria  Corombona,  1612, 
shows  that  the  term  was  sometimes  applied  to  a  wanton :  "  Is  this 
your  perch,  you  haggard?  fly  to  the  stews." 

292.  hundred : — Here   used    for   an   indefinite   number ;     still    it 

180 


THE  MOOR  OF  VENICE  Notes 

'^Iiows  that  the  unity  of  time  is  much  less  observed  in  this  play 
ihan  some  hate  supposed.  Thus  far  only  one  night  since  that  of 
the  marriage  has  been  expressly  accounted  for;  and  this  was  the 
night  when  the  nuptials  were  celebrated,  and  Cassio  cashiered; 
though  several  must  have  passed  during  the  sea-voyage.  From 
lago's  soliloquy  at  the  close  of  Act  I.,  it  is  clear  he  had  his  plot 
even  then  so  far  matured,  that  he  might  often  woo  his  wife  to 
steal  the  handkerchief  while  at  sea.  Moreover,  we  may  well 
enough  suppose  a  considerable  interval  of  time  between  the  first 
and  third  Scenes  of  the  present  Act ;  since  Cassio  may  not  have 
had  the  interview  with  Desdemona  immediately  after  he  engaged 
Emilia  to  solicit  it  for  him. 

296.  ta'en  out : — Meaning  that  she  will  have  it  copied.  Her 
first  thoughts  are  to  have  a  copy  made  of  it  for  her  husband,  and 
restore  the  original  to  Desdemona ;  but  the  sudden  coming  in  of 
lago,  in  a  surly  humour,  makes  her  alter  her  resolution. 

330.  Look,  ivhere  he  comes! — "That  is,"  explains  Steevens, 
"  I  knew  the  least  touch  of  such  a  passion  would  not  permit  the 
Moor  a  moment  of  repose;  I  have  just  said  that  jealousy  is  a 
restless  commotion  of  the  mind;  and  look,  where  Othello  ap- 
proaches, to  confirm  my  observation." 

350  et  scq.  There  is  some  resemblance  between  this  speech  and 
the  following  lines  in  Peek's  Farewell  to  the  Famous  and  For- 
tunate Generals  of  our  English  Forces,  1589: — 

"Change  love  for  armes ;  gyrt  to  your  blades,  my  boyes; 
Your  rests  and  muskets  take,  take  helme  and  targe, 
And  let  god  Mars  his  trumpet  make  you  mirth, 
The  roaring  cannon,  and  the  brazen  trumpe. 
The  angry-sounding  drum,  the  whistling  fife, 
The  shriekes  of  men,  the  princelie  courser's  ncy." 

352.  In  mentioning  the  £fe  joined  to  the  drum,  Shakespeare,  as 
usual,  paints  from  life ;  those  instruments,  accompanying  each 
other,  being  used  in  his  age  by  the  English  soldiery.  The  fife, 
however,  as  a  martial  instrument,  was  afterwards  discontinued 
for  many  years,  but  at  length  revived  by  the  British  guards  under 
the  Duke  of  Cumberland,  when  they  were  encamped  before 
Maestricht  in  1747,  and  thence  adopted  into  other  English  regi- 
ments of  infantry. 

449,450.  Swell  .  .  .  tongues! — Szvell,  because  the  freight 
thou  art  charged  with  is  that  of  poison,  as  from  the  deadly  bites 
of  asps. 

181 


Notes  TRAGEDY  OF  OTHELLO. 

467-469.  The  meaning  here,  as  explained  by  Mr.  Joseph  Crosby, 
is :  "  Let  him  command  whatever  bloody  work  he  may,  to  per- 
form it  shall  be  with  me  a  matter  of  conscience." 

Scene  IV. 

24.  /  know  not: — Objection  has  been  made  to  the  conduct  of 
Emilia  in  this  scene,  as  inconsistent  with  the  spirit  she  afterwards 
shows.  But  it  is  not  easy  to  discover  any  such  inconsistency. 
Want  of  principle  and  strength  of  attachment  are  often  thus  seen 
imited.  Emilia  loves  her  mistress  deeply ;  but  she  has  no  moral 
repugnance  to  theft  and  falsehood,  apprehends  no  fatal  conse- 
quences from  the  Moor's  passion,  and  has  no  soul  to  conceive 
the  agony  her  mistress  must  suffer  by  the  charge  of  infidelity ;  and 
it  is  but  natural  that  when  the  result  comes  she  should  be  the 
more  spirited  for  the  very  remembrance  of  her  own  guilty  part 
in  the  process.  It  is  the  seeing  of  the  end  that  rouses  such  people, 
and  rouses  them  all  the  more  that  they  themselves  have  served 
as  means. 

26.  crusadoes : — It  appears  from  Rider's  Dictionary  that  there 
were  three  sorts  of  crusadoes ;  one  with  a  long  cross,  one  with  a 
short  cross,  and  the  great  crusado  of  Portugal.  They  were  of 
gold,  and  differed  in  value  from  six  shillings  and  eight  pence  to 
nine  shillings. 

47.  nezv  heraldry: — This  "new  heraldry"  appears  to  be  an  al- 
lusion to  the  bloody  hand  borne  on  the  arms  of  the  new  order  of 
baronets,  created  by  James  I.  in  161 1.  Malone,  with  much  prob- 
ability, quotes,  in  illustration  of  the  text,  the  following  from  the 
Essays  of  Sir  William  Cornwallis,  1601 :  "  We  of  these  later 
times,  full  of  a  nice  curiositie,  mislike  all  the  performances  of 
our  forefathers;  we  say  they  were  honest  plaine  men,  but  they 
want  the  capering  wits  of  this  ripe  age.  They  had  wont  to  give 
their  hands  and  hearts  together,  hutzve  think  it  a  finer  grace  to 
looke  asquint,  our  hand  looking  one  way  and  our  heart  another.'" 

57.  a  charmer: — Used  for  an  enchanter  in  the  Psalms.  So  in 
Perkins's  Discourse  of  the  damned  Art  of  Witchcraft,  1610:  "By 
witches  we  understand  not  only  those  which  kill  and  torment,  but 
all  charmers,  jugglers,  all  wizards,  commonly  called  wise  men 
and  wise  women." 

65.  To  give  it  her: — Of  course  her  refers  to  the  noun  implied 
in  wive.  In  the  last  scene  of  the  play,  Othello  speaks  of  the  hand- 
kerchief as  "  an  antique  token  my  father  gave  my  mother."     This 

182 


THE  MOOR  OF  VENICE  Notes 

has  been  thought  an  oversight ;  Steevens  regards  it  as  a  fresh 
proof  of  the  Poet's  art.  "  The  first  account,"  says  he,  "  was  pur- 
posely ostentatious,  in  order  to  alarm  his  wife  the  more.  When 
he  again  mentions  it,  the  truth  was  sufficient." 

74.  dyed  in  mummy : — The  balsamic  liquor  running  from 
mummies  was  formerly  celebrated  for  its  anti-epileptic  virtues. 
It  was  much  coveted  by  painters,  as  a  transparent  brown  colour 
that  threw  a  warmth  into  the  shadows  of  a  picture. 

i6g.  "What  are  you  doing  away  from  home?  "  We  repeatedly 
meet  with  the  same  phraseology  in  Shakespeare. 

173.  A  week  away : — It  would  seem,  by  this,  that  seven  days 
at  least  have  elapsed  since  Cassio  was  cashiered ;  perhaps  much 
more,  as  the  "  leaden  thoughts  "  may  have  been  kept  off  for  some 
time  by  the  hopes  built  upon  Desdemona's  promise  of  intercession, 
and  brought  on  again  by  the  unexpected  delay. 

180.  Take  me  this  zvork  out: — Copy  this  work  in  another  hand- 
kerchief. So  in  Middleton's  Women  beware  Women  :  "  She  in- 
tends to  take  out  other  works  in  a  new  sampler."  Again,  in  the 
Preface  to  Holland's  Pliny,  1601  :  "  Nicophanes  gave  his  mind 
wholly  to  antique  pictures,  partly  to  exemplify  and  take  out  pat- 
terns, after  that  in  long  continuance  of  time  they  were  decayed." 

ACT  FOURTH. 
Scene  I. 

I.  We  must  suppose  that  lago  had  been  applying  cases  of  false 
comfort  to  Othello;  as  that,  though  the  parties  had  been  even 
found  exchanging  endearments,  there  might  be  no  harm  done :  it 
might  be  only  for  trial  of  their  virtue.  In  these  pretended  excu- 
sings  lago  seeks  only  to  intensify  the  sufferings  which  he  pro- 
fesses to  allay. 

8.  The  devil  tempts  their  virtue  by  stirring  up  their  passions, 
and  they  tempt  heaven  by  placing  themselves  in  a  situation  which 
makes  it  scarcely  possible  to  avoid  falling  by  the  gratification  of 
them.  Perhaps  the  story  of  St.  Adhelm.  related  in  Bale's  Actes 
of  Englysh  Votaries,  is  referred  to:  "This  Adhelmus  never  re- 
fused women,  but  wold  have  them  commonly  both  at  borde  and 
bedde,  to  mocke  the  Devyll  with." 

21,22.  The  raven  was  thought  to  be  a  bird  of  ill  omen,  given 
to  hovering  about  houses  infected  with  the  plague, 

183 


Notes  TRAGEDY  OF  OTHELLO. 

28.  Convinced: — Having  either  conquered  her  reluctance  or 
comphed  with  her  wish.  The  proper  meaning  of  convince  is  con- 
quer or  overcome. 

41-43.  Nature  .  .  .  instruction : — This  passage  has  called 
forth  much  critical  discussion.  As  suggested  by  Johnson,  Othello 
seems  to  say,  "  This  passion,  which  spreads  its  clouds  over  me, 
is  the  effect  of  some  agency  more  than  the  operation  of  words : 
it  is  one  of  those  notices  which  men  have  of  unseen  calamities." 
Or  the  sense  may  be  given,  as  by  Sir  J.  Reynolds,  something  thus : 
"  Nature  would  not  in  Cassio  clothe  herself  in  such  shadowing 
passion,  or  would  not  give  out  such  adumbrations  of  passion, 
without  some  former  experience,  or  the  instruction  of  some  fore- 
going fact." 

45.  "The  starts,"  says  Warburton,  "and  broken  reflections  in 
this  speech  have  something  in  them  very  terrible,  and  show  the 
mind  of  the  speaker  to  be  in  inexpressible  agonies."  The  trance 
is  thus  justified  by  Sir  J.  Reynolds:  "Othello,  in  broken  sen- 
tences and  single  words,  all  of  which  have  a  reference  to  the 
cause  of  his  jealousy,  shows  that  all  the  proofs  are  present  at 
once  to  his  mind,  which  so  overpower  it  that  he  falls  into  a 
trance — the  natural  consequence." 

69.  Beds  which  really  do  not  pertain  to  themselves  alone ;  beds 
which  are  not  peculiarly  or  specially  their  own,  but  are  shared  in 
common  with  others. 

121.  Othello  calls  Cassio  Roman  ironically,  probably  in  allusion 
to  his  apparent  elation,  calling  to  Othello's  mind  the  triumphs 
or  triumphant  career  of  the  Romans. 

247,  248.  If  that  the  earth  .  .  .  crocodile: — By  the  doctrine 
of  equivocal  generation  new  animals  were  supposed  producible 
by  new  combinations  of  matter.  Shakespeare  here  alludes  to  the 
fabulous  accounts  which  make  the  crocodile  the  most  deceitful 
of  animals.  In  Bullokar's  Expositor,  1616,  occurs  the  following: 
"  It  is  written  that  he  will  weep  over  a  man's  head  when  he  hath 
devoured  the  body,  and  will  then  eat  up  the  head  too."  Where- 
fore in  Latin  there  is  a  proverb,  "  Crocodili  lachrymae,  crocodiles 
teares,  to  signifie  such  teares  as  are  feigned,  and  spent  only  with 
intent  to  deceive  or  do  harm." 

265.  Goats  and  monkeys! — In  this  exclamation  Shakespeare  has 
shown  great  art.  lago  in  Act  III.  Sc.  iii.,  being  urged  to  give 
some  ocular  proof  of  the  guilt  of  Cassio  and  Desdemona,  tells 
the  Moor  it  were  impossible  to  have  ocular  demonstration  of  it, 
"  were  they  as  prime  as  goats,  as  hot  as  monkeys."   These  words 

184 


THE  MOOR  OF  VENICE  Notes 

still  ring  in  the  ears  of  Othello,  who,  being  now  fully  convinced 
of  his  wife's  infidelity,  explodes  with  this  involuntary  exclamation. 


Scene  II. 

54,55.  A  fixed  figure  .  .  .  finger  at! — Much  has  been  writ- 
ten upon  this  famous  passage,  and  various  changes  proposed. 
"  The  time  of  scorn  "  probably  means,  as  Knight  says,  the  age  of 
scorn,  that  is,  the  whole  period  during  which  scorn  may  be  said 
to  live.  The  "fixed  figure"  is  simply  the  speaker  himself,  and 
not,  as  been  so  much  supposed,  a  figure  on  a  dial.  As  to  "  slow 
unmoving,"  the  sense  of  it  can  be  better  felt  than  expressed :  we 
can  see  the  sneer  darting  from  the  inexorable  finger,  ever  slowly 
moving  zvitli  the  object,  never  moving  from  it;  but  we  cannot 
speak  it  in  any  words  but  Shakespeare's,  as  they  stand  in  the  text. 

74.  make  very  forges  of  my  cheeks : — Othello  has  already,  when 
with  lago,  spoken  Desdemona's  imputed  deeds  very  plainly;  and 
would  Shakespeare  have  forgotten  that  Othello's  cheeks  were  too 
dark  to  show  a  blush?  or  still  more,  would  he  have  referred  the 
blush  in  such  a  case  to  the  countenance  of  the  man  when  the 
woman  was  present?  In  Titus  Andronicus,  IV.  ii.,  Aaron,  the 
Moor,  when  Chiron  says,  "  I  blush  to  think  upon  this  ignomy " 
(of  his  mother's  having  a  mulatto  child),  replies: — 

'*Why,  there's  the  privilege  your  beauty  bears: 
Fie,  treacherous  hue,  that  will  betray  with  blushing 
The  close  enacts  and  counsels  of  the  heart ! 
Here  's  a  young  lad  framed  of  another  leer" 

88.  /  cry  you  mercy : — That  is,  "  I  ask  your  pardon." 
91.  The  office  opposed  to  Saint  Peter;  alluding,  evidently,  to 
"  the  power  of  the  keys,"  which  was  given  to  the  Apostles  gen- 
erally, and  especially  to  Saint  Peter  as  representing  them.  So 
that  the  opposition  is  between  Emilia  as  keeper  of  the  gate  of 
Hell  and  Saint  Peter  as  keeper  of  the  gate  of  Heaven.  The  sense, 
therefore,  requires  that  the  special  emphasis,  if  there  be  any, 
should  be  laid  on  opposite. 

104.  go  by  water: — Be  expressed  by  tears.  A  similar  conceit  is 
found  in  Hamlet,  IV,  vii.  186,  187 : — 

"  Too  much  of  water  hast  thou,  poor  Ophelia, 
And  therefore  I  forbid  my  tears." 

185 


Notes  TRAGEDY  OF  OTHELLO. 

144.  speak  within  door : — Do  not  clamour  so  as  to  be  heard  be- 
yond the  house. 

167.  he  does  chide  with  you : — This  was  the  phraseology  of  the 
time.  So  Baret :  "  To  complaine,  to  make  a  quarrel,  to  chide 
zL'ith  one  for  a  thing.  Expostulare  et  queri."  So  too  in  the  Poet's 
CXIth  Sonnet:     "  O,  for  my  sake  do  you  zvith  fortune  cJiide." 

212,  213.  I  grant  .  ,  .  judgement: — "  Shakespeare,"  says  Ma- 
lone,  "  knew  well  that  most  men  like  to  be  flattered  on  account 
of  those  endowments  in  which  they  are  most  deficient.  Hence 
lago's  compliment  to  this  snipe  on  his  sagacity  and  shrewdness." 

226.  goes  into  Mauritania: — This  passage  proves,  so  far  as  any- 
thing said  by  lago  may  be  believed,  that  Othello  was  not  meant 
to  be  a  negro,  as  has  been  represented,  both  on  the  stage  and  off. 
but  a  veritable  Moor.  His  kindred,  the  Mauritanians — from 
whose  "  men  of  royal  siege  he  fetched  his  life  and  being."  and 
among  whom  he  was  about  to  retire — though  apt  enough  to  be 
confounded  with  the  negroes,  were  as  different  from  them,  ex 
ternally,  as  brown  is  from  black;  internally,  in  mind  and  char- 
acter, the  difference  was  far  greater. 

236.  He  sups  to-night  with  a  harlotry: — See  "a  peevish  self- 
will'd  harlotry,"  i  King  Henry  IV.,  HI.  i.,  and  the  very  same 
phrase  in  Romeo  and  Juliet,  IV.  ii. 


Scene  IH. 

II.  Hazlitt  calls  this  "one  of  those  side  intimations  of  the  fluc- 
tuations of  passion,  which  we  seldom  meet  with  but  in  Shake- 
speare. He  has  here  put  into  half  a  line  what  some  authors  would 
have  spun  out  into  ten  set  speeches." 

55-57-  [Singing.']  These  lines  sung  by  Desdemona  are  from  an 
old  ballad,  entitled  A  Lover's  Complaint,  being  forsaken  of  his 
Love.  The  ballad  may  be  found  entire  in  Percy's  Reliqucs.  It  is 
there  the  lament  of  a  man :  Shakespeare  adapted  it  to  the  sex  of 
"poor  Barbara."  Subjoined  are  the  stanzas  from  which  he  bor- 
rowed:— 

A  poore  soule  sat  sighing  under  a  sicamore  tree ; 

O  willow,  willow,  willow ! 
With  his  hand  on  his  bosom,  his  head  on  his  knee : 

O  willow,  willow,  willow ! 
Sing,  O  the  greene  willow  shall  be  my  garland, 

186 


THE  MOOR  OF  VENICE  Notes 

The  cold  streams  ran  by  him,  his  eyes  wept  apace ; 

O  willow,  willow,  willow  ! 
The  salt  tears  fell  from  him,  which  drowned  his  face: 

O  willow,  willow,  willow ! 
Sing,  O  the  greene  willow  shall  be  my  garland. 

The  mute  birds  sat  by  him,  made  tame  by  his  mones ; 

O  willow,  willow,  willow  ! 
The  salt  tears  fell  from  him,  which  soften'd  the  stones : 

O  willow,  willow,  willow  ! 
Sing,  O  the  greene  willow  shall  be  my  garland. 

Let  nobody  blame  me,  her  scorns  I  do  prove ; 

O  willow,  willow,  willow ! 
She  was  borne  to  be  faire;  I  to  die  for  her  love: 

O  willow,  willow,  willow  ! 
Sing,  O  the  greene  willow  shall  be  my  garland. 

"JZ-  A  joint-ring  was  anciently  a  token  of  troth-plight  between 
lovers,  like  the  piece  of  broken  gold  in  the  Bride  of  Lanimermoor. 
Dryden  has  a  minute  description  of  it  in  his  Don  Sebastian : — 

"  A  curious  artist  wrought  them 
With  joints  so  close  as  not  to  be  perceiv'd ; 
Yet  are  they  both  each  other's  counterpart : 
Her  part  had  Juan  inscrib'd,  and  his  had  Zayda, 
(You  know  these  names  are  theirs,)  and  in  the  midst 
A  heart  divided  in  two  halves  was  plac'd. 
Now,  if  the  rivets  of  those  rings  enclos'd 
Fit  not  each  other,  I  have  forg'd  this  lie ; 
But,  if  they  join,  you  must  for  ever  part." 


ACT  FIFTH. 
Scene  I. 

II.  A  quat,  in  provincial  usage,  was  a  pimple,  which  by  rubbing 
could  be  made  to  smart.  Roderigo  is  called  a  quat  in  the  same 
manner  that  a  low  fellow  was  vulgarly  termed  a  scab.  To  rub  to 
the  sense  is  to  rub  to  the  quick. 

187 


Notes  TRAGEDY  OF  OTHELLO, 

Scene  IL 

1.  Othello's  act  is  caused  b}'  her  supposed  crime.  Herein  alone 
he  finds  his  self-justification. 

2.  Steevens  declares  that  there  is  "  no  classical  authority  "  for 
chaste  stars.  But  Othello  has  authority  as  good,  perhaps,  as 
classical,  in  the  supposed  unchastity  of  his  wife,  which  is  tJic ' 
cause  of  his  present  purpose,  and  which  the  purity  of  the  stars 
withholds  him  from  naming  in  their  presence.  No  classical  au- 
thority !     The  phrase  itself  is  classical  now. 

21.  this  sorrow's  heavenly: — Is  of  heavenward  tendency. 

65,  A  murder,  etc. : — Some  editors  have  managed  to  stumble 
at  this  passage.  The  language  is  indeed  compressed,  but  the 
meaning  seems  clear  enough.  Othello  goes  about  the  killing  of 
his  wife  as  an  act  of  religion,  and  he  fears  lest  her  perjury  may 
excite  his  anger,  and  so  corrupt  the  deed  into  an  act  of  revenge. 
This  is  Johnson's  explanation:  "Thou  hardenest  my  heart,  and 
makest  me  kill  thee  with  the  rage  of  a  murderer,  when  I  thought 
to  have  sacrificed  thee  to  justice  with  the  calmness  of  a  priest 
striking  a  victim." 

82.  Being  done,  etc. : — Othello  regards  the  act  as  done,  wlici 
the  conflict  between  his  love  and  honour  is  fully  over,  his  resolu- 
tion finally  taken,  and  his  hand  raised  to  strike.  To  admit  any 
pause  in  such  a  case,  were  but  to  prolong  the  suffering  of  the 
victim. 

88.  So,  so  : — At  these  words,  the  Othello  of  the  stage  is  made  to 
stab  Desdemona.  There  is  no  such  direction  in  any  of  the  old 
copies ;  but  still  the  stage-custom  may  be  right ;  as,  in  the  agony 
of  the  moment,  and  in  his  desire  "  not  to  have  her  linger  in  her 
pain,"  Othello's  resolution  not  to  shed  her  blood  might  be  over- 
come. It  seems  more  natural,  too,  that  Desdemona  should  speak 
after  being  stabbed  than  after  being  smothered  to  death. 

183.  charm  your  tongue : — To  charm  is  to  still  or  hush  as  with 
a  charm.  Pliny  informs  us  that  favete  Unguis  was  the  constant 
exclamation  before  any  cJiarm  was  applied.  From  this  circum- 
stance the  phrase  to  charm  a  tongue,  may  have  originated. 

192.  /  thought  so  then  : — That  is,  when  she  gave  Desdemona's 
handkerchief  to  lago ;  for  even  tJien  Emilia  appears  to  have  sus- 
pected it  was  sought  after  for  no  honest  purpose. 

212.  A  thousand  times: — An  indefinite  number.  See  a  hundred 
times,  III.  iii.  2r2. 

239.  Strictly  speaking,   lago  cannot  be  called  a  notorious  vil- 

188 


THE  MOOR  OF  VENICE  Notes 

Iain,  as  his  villainy  was  not  kiiozvn.  The  meaning  is  egregious, 
as  in  IV.  ii.  140. 

253.  The  way  of  tempering  steel  is  by  plunging  it  red-hot  into 
cold  water;  and  the  colder  the  water,  the  higher  the  temper  at- 
tained. Steevens  has  shown  from  Martial  and  Justin  that  in 
Spain  the  waters  of  the  Salo  and  the  Chalybes,  being  remarkable 
for  coldness,  were  used  in  tempering  swords.  As  Toledo  blades 
were  famous  all  over  Europe  in  the  Poet's  time,  he  might  easily 
learn  that  they  were  of  the  ice-brook's  temper  without  going  to 
classical  authorities. 

286.  /  look  dozvii  toivards  his  feet : — Alluding  to  the  devil's 
fabled  cloven  foot.  Othello  looks  down  towards  lago's  feet  to 
see  if  he  has  that  sign  of  being  a  devil,  but  then  concludes  that 
he  may  be  just  as  much  a  devil  without  it. 

347.  Coleridge  remarks  upon  this  passage :  "  Othello  wishes  to 
excuse  himself  on  the  score  of  ignorance,  and  yet  not  excuse  him- 
self— to  excuse  himself  by  accusing.  This  struggle  of  feeling  is 
finely  conveyed  in  the  word  base,  which  is  applied  to  the  rude 
Indian,  not  in  his  own  character,  but  as  the  momentary  represen- 
tative of  Othello's."  Whether  Shakespeare  meant  an  allusion  to 
any  particular  story  of  an  Indian,  or  to  the  Indians  as  generally 
described,  is  not  quite  clear ;  probably,  the  latter.  Thus  in  Dray- 
ton's Legend  of  Matilda :  "  The  wretched  Indian  spumes  the 
golden  ore.''  So  again  in  The  Woman's  Conquest,  by  Sir  Ed- 
ward Howard :  "  Behold  my  queen,  who  with  no  more  concern 
He  cast  away  then  Indians  do  a  pearl,  that  ne'er  did  know  its 
value." 

352.  Aleppo  : — It  is  said  to  have  been  immediate  death  for  a 
Christian  to  strike  a  Turk  in  Aleppo. 

361.  Spartan  dog: — The  dogs  of  Spartan  breed  were  among  the 
most  fierce  and  savage. 


TRAGEDY  OF  OTHELLO. 


Questions  on  Othello, 


1.  What  is  known  of  the  early  editions  of  Othello;  of  the  date 
of  its  composition? 

2.  What  can  you  say  of  the  original  stage  Othello ;  of  the 
sources  of  the  plot  ? 

3.  What  is  the  duration  of  action  in  this  play? 

ACT  FIRST. 

4.  How  was  Venice  ruled  at  the  time  of  the  play;  what  was 
the  office  of  Duke  of  Venice;  that  of  Senator? 

5.  What  was  the  Council  of  State;  why  had  it  been  convened? 

6.  What  of  the  Cyprus  ivars  to  which  lago  refers ;  what  was  the 
Sagittary?  (About  1470  Cyprus,  the  scene  of  the  entire  action  of 
Othello,  was  annexed  to  Venice,  and  it  continued  under  Venetian 
rule  until  about  1571.) 

7.  Where  does  lago  first  make  known  his  hatred  of  Othello ; 
what  cause  was  there  for  that  hatred,  as  shown  by  lago? 

8.  What  impression  is  made  by  lago's  estimate  of  himself? 

9.  How  account  for  Othello's  influence  over  Desdemona ;  for 
Brabantio's  reference  of  Desdemona's  submission  to  Othello  to 
witchcraft? 

10.  Describe  Shakespeare's  general  treatment  of  witchcraft ; 
how  far  does  it  reflect  the  superstitious  mind  of  his  age? 

11.  Does  the  character  of  Roderigo  include  the  sense  of  honour; 
what  led  him  to  hate  Othello? 

12.  Why  should  Othello  speak  in  the  same  passage  of  the  Can- 
nibals and  the  Anthropophagi? 

13.  With  a  timorous  disposition,  as  appears  later,  how  does 
Desdemona  in  this  Act  speak  for  herself  so  boldly? 

14.  Was  Othello  a  negro?  What  answer  to  this  is  suggested  by 
his  calling  himself  (HI.  iii.  263,  387)  black?  What  do  we  know 
of  the  Moors  of  that  day  ? 

15.  Give  a  brief  summary  of  the  characters  and  action  of  Act  I. 

190 


THE  MOOR  OF  VENICE  Questions 

ACT  SECOND. 

i6.  What  are  the  conditions  under  which  this  Act  opens? 

17.  What  purpose  is  served  by  introducing  the  Turkish  fleet 
and  its  destruction? 

18.  At  first  impression,  what  sort  of  a  man  is  Cassio? 

19.  When  lago,  in  -the  soHloquy  which  ends  Sc.  iii.,  declares 
Othello  to  be  of  a  constant,  loving,  noble  nature,  does  lago  show 
that  he  is  capable  of  compunction? 

20.  Interpret  this  soliloquy  as  a  whole, 

21.  What  does  Cassio  think  of  drunkenness?  Relate  his  expe- 
rience of  it.     How  are  we  affected  by  his  repentance? 

22.  How  do  you  regard  lago's  account  to  Othello  of  the  in- 
cidents following  Cassio's  indiscretion? 

23.  What  part  does  lago  wish  Cassio  to  play ;  what  part  Ro- 
derigo  ? 

24.  How  in  this  Act  does  lago  treat  Roderigo ;  why  ? 

25.  Analyze  the  closing  lines  of  Sc.  iii. 

26.  What  performance  follows  the  purpose  here  outlined  by 
lago? 

27.  How  does  Desdemona  impress  Cassio? 

28.  Give  a  brief  summary  of  Act  H. 


ACT  THIRD. 

29.  Interpret  the  opening  of  the  Act — Clown,  musicians,  etc. 

30.  What  does  the  Clown  mean  by  his  question  about  the  in- 
struments having  been  in  Naples? 

31.  What  tragic  sequence  does  this  light  action  prelude? 
2,2.  Outline  the  character  of  Emilia. 

33.  Did  she  understand  her  husband? 

34.  Do  you  gain  any  definite  idea  from  lago's  speech  to  Othello 
(Sc.  iii.  144-154)  ;  what  does  Othello  understand  from  it? 

35.  What  is  the  meaning  of  this  (Sc.  iii.  165-167)  ? — 

"  O,  beware,  my  lord,  of  jealousy; 
It  is  the  green-eyed  monster,  which  doth  mock 
The  meat  it  feeds  on." 

26.  Was  Othello  justified  in  attaching  such  weight  to  the  words 
of  lago  beginning,  Slic  did  deceive  her  father,  marrying  you? 
Was  Desdemona's  conduct  in  the  matter  cited  reprehensible? 

191 


Questions  TRAGEDY  OF  OTHELLO, 

Zy.  Upon  what  does  Othello  base  his  opinion  of  lago's  honesty? 

38.  How  does  lago  so  completely  befool  Othello? 

39.  What  wrong  directions  does  Othello's  revenge  take? 

40.  How  does  Desdemona  apprehend  the  feeling  of  jealousy; 
how  does  she  regard  the  jealousy  of  Othello? 

41.  What  of  Desdemona's  behaviour  under  Othello's  suspicion? 

42.  Does  Emilia's  obedience  to  her  husband  after  he  has 
snatched  the  handkerchief  from  her  seem  out  of  keeping  with 
her  character? 

43.  Up  to  the  end  of  this  Act,  how  does  the  character  of  Des- 
demona impress  you;  that  of  Emilia? 

44.  What  new  influence  appears  with  the  introduction  of 
Bianca;  how  does  she  show  the  effect  of  jealousy?  What  new 
light  does  her  appearance  throw  upon  Cassio? 

45.  How  much  does  Act  HI.  advance  the  action  of  the  play? 

ACT  FOURTH. 

46.  Describe  the  increased  efforts  of  lago  to  work  upon  the 
jealousy  and  anger  of  Othello. 

47.  Does  lago  here  exhibit  any  trace  of  human  pity  or  feeling? 

48.  Does  any  other  great  character  of  Shakespeare  approach 
lago  in  heartlessness  and  diabolic  spirit? 

49.  How  are  the  sorrow  and  compassion  of  Othello  portrayed 
in  Sc.  i.? 

50.  How  is  shown  the  lowest  depth  of  lago's  devilish  perfidy? 

51.  Explain  (Sc.  i.  248)  Each  drop  she  falls  would  prove  a 
crocodile. 

52.  Does  Emilia  betray  any  suspicion  of  her  husband  when  she 
says  (Sc.  ii.  130-133),  /  will  be  hanged,  etc.? 

53.  Is  Desdemona's  song  essential  to  the  action  of  the  drama; 
what  is  its  artistic  or  dramatic  purpose;  what  similar  incident  in 
Shakespeare  does  it  recall? 

54.  How  does  Othello  at  first  intend  to  kill  Desdemona;  what 
other  means  does  lago  suggest,  and  why? 

55.  How  does  Desdemona  receive  Othello's  accusation  against 
her ;  how  does  Emilia  treat  it  ? 

56.  Does  lago  deceive  others  as  completely  as  he  does  Othello? 

57.  What  relation  does  Act  IV.  bear  to  the  main  action  of  the 
play? 

192 


THE  MOOR  OF  VENICE  Questions 

ACT  FIFTH. 

58.  How  would  the  death  of  Cassio  or  Roderigo  further  the 
ends  of  lago? 

59.  What  does  Roderigo's  confession  in  view  of  death  show  as 
to  his  character? 

60.  By  what  means  does  lago  still  forward  his  schemes? 

61.  What  is  Othello's  mental  condition  during  most  of  this  Act? 
How  does  he  justify  himself  in  killing  Desdemona? 

62.  Does  Desdemona  at  last  see  that  she  and  Othello  have  both 
been  betrayed? 

63.  How  does  Desdemona  face  Othello's  final  determination  to 
kill  her;  why  does  she  beg  for  half  an  hour  of  grace? 

64.  How  account  for  the  fact  that  Desdemona  died  with  a  false- 
hood on  her  lips;  was  it  an  intentional  falsehood,  a  mistake,  or 
the  result  of  a  confused  mind? 

65.  When  Othello  learns  that  Desdemona  was  innocent,  how 
does  he  act? 

66.  Explain  (Sc.  ii.  7)  Put  out  the  light,  and  then  put  out  the 

light. 

67.  What  is  the  allusion  in  line  347:  Like  the  base  Indian, 
threw  a  pearl  away? 

68.  Explain  lago's  last  speech  in  the  play. 

69.  What  is  shown  by  comparing  Desdemona  and  Emilia? 


70.  Is   this   play   marked   by    Shakespeare's    usual   breadth    of 
treatment? 

71.  What  is  the  purpose  of  soliloquy  in  the  modern  drama;  has 
it  any  relation  to  the  chorus  of  ancient  drama? 

72.  Describe  the  purpose  and  effect  of  lago's  soliloquy  at  the 
end  of  Act  I.  ,         ,.,        . 

73.  Does  any  other  character  of   Shakespeare  s   soliloquize   as 

much  as  lago? 

74.  Could  the  subtle  and  wicked  spirit  and  purposes  of  lago  so 
well  be  made  known  in  any  other  manner? 

75.  How  were  love  and  marriage  regarded  by  Othello ;  by  Des- 
demona;  by  lago;  by  Emilia? 

76.  Compare  these  characters  in  any  respect  to  others  m  Shake- 
speare. 

77.  Interpret  Shakespeare's  contrasting  of  humour  and  tragedy, 
as  in  Act  III.,  at  its  beginning,  and  at  the  opening  of  Sc.  iv.; 

193 


Questions 

with  what  scene  of  Hamlet  may  it  be  compared  in  respect  of 
dramatic  purpose? 

78.  In  view  of  his  character,  what  value  has  lago's  estimate  of 
good  name'? 

79.  In  the  mouth  of  villainy  has  the  praise  of  virtue  any  ethical 
significance? 

80.  What  is  the  secret  power  by  which  a  man  like  lago  makes 
even  innocent  persons,  as  well  as  circumstances,  conspire  to 
serve  his  evil  purposes? 

81.  Is  the  source  of  lago's  influence  over  Othello  more  to  be 
seen  in  lago's  own  complex  and  diabolical  genius  or  in  Othello's 
simplicity  of  nature? 

82.  What  is  the  ethical  import  of  this  play  as  dealing  with  love, 
jealousy,  hate,  revenge,  etc.? 

83.  Does  good  here  seem  to  be  vanquished  and  evil  prospered ; 
is  the  influence  of  the  play  on  the  side  of  pessimism  or  of  opti- 
mism? 

84.  Indicate  the  usual  contrasts  between  the  jealousies  of  noble 
souls  and  those  of  base. 

85.  Is  there  anywhere  a  better  portrayal  of  such  contrasts  as 
appear  between  Othello  and  lago  than  in  this  play? 

86.  What  is  to  be  said  of  the  art  whereby  Shakespeare  makes 
the  Moor  so  admirable,  notwithstanding  his  limitations,  and  even 
renders  lago  fascinating  in  spite  of  all  his  "inscrutable  de- 
pravity "  ? 


194 


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